Walter Benjamin was one of the most influential thinkers of the 20th century, known for his work in philosophy, literary criticism and cultural theory. He was an intellectual who stood out for his interdisciplinary approach, combining elements of aesthetics, history and sociology.
He is also recognized for his ability to connect ideas from different disciplines and for his unique style, combining cultural criticism with philosophical reflection. His interest in the impact of technology on art and culture, as well as his analysis of the modern experience, have made him a key figure in the study of modernity and critical thought in the 20th century. Some of his most outstanding works, such as “The Work of Art in the Age of Mechanical Reproduction” and “Theses on the Philosophy of History”, have left a deep mark on contemporary thought.
Small biography.
Walter Benjamin was born in the Berlin of the German Empire into a wealthy family of Ashkenazi Jewish origin. His father, Emil Benjamin, was a banker in Paris and later an antiquarian in Berlin, where he married Pauline Schönflies. Walter recalls that the stories his mother told him served as the basis for one of his theories: “the power of narration and of the word over the body”; it also made him reflect on the relationship that the stories established between tradition and actuality.
In 1912, at the age of twenty, he entered the University of Freiburg, but at the end of the second semester he enrolled at the University of Berlin to continue his studies in philosophy. There he became acquainted with Zionism, which his parents, having given him a liberal education, had not instilled in him. Benjamin did not profess orthodox religiosity; nor did he embrace political Zionism.
Source: Walter Benjamin Archive
During his university years he was elected president of the “Union of Free Students”, for which he wrote several papers on the need for educational and cultural reform. In his university years he had the courage to challenge the theoretical origin of the predominant formalism and wrote about his concern for language as a key piece of life: “Man communicates despite language, not because of language”; two ideas discordant with the established consensus of those times, for which he suffered in a way a double discrimination; as a Jewish intellectual and a leftist.
In 1914, at the outbreak of World War I, Benjamin wanted to enlist, but was not admitted due to health problems. However, after being deeply impressed by the suicide of two of his friends who were fighting, he ended up joining the pacifist current of the radical left, which rejected participation and collaboration with what they called an “inter-imperialist human carnage”.
In that year he began translating the works of Charles Baudelaire into German. A year later, in 1915, he enrolled at the University of Munich, where he met the poet and novelist Rainer Maria Rilke, and the philologist and historian Gershom Scholem. In 1917, he enrolled at the University of Bern, where he met the philosopher Ernst Bloch and Dora Sophie Pollack, writer and translator, whom he later married and had a son with. A little later, he had the project of founding a magazine, but it failed. In this period he also wrote a text in which he analyzed the concept of “myth”, and began a relationship with the theater director Asja Lācis.
He wanted to become a professor at the university, but was simply rejected because he was Jewish. He wrote The Origin of German Tragic Drama, where he worked on the concept of “allegory”; with which he brought to light the messianic conception of life.
At this stage he embraced materialism and set aside everything else, and here he affirmed his position before the trends of the moment: he never militated in Zionism, communism or fascism. For him, the salvation of humanity was linked to the salvation of nature. He was fascinated by the works of Marcel Proust and Charles Baudelaire, born observers of life. In 1926 his father died and he left for Moscow, where he wrote a diary and confirmed his theory about political tendencies, which caused to isolate himself completely. In 1929 he broke up his relationship with Asja and a year later his mother died. In addition, he was forced to mortgage his inheritance to pay his wife’s demands. It was a difficult period for Benjamin, but his romanticism always made him believe that it was the beginning of a new life.
Benjamin mercilessly criticized Hitler and fascist theory, as well as the “hypocrisy of bourgeois democracy” and the German financial and industrial capital that supported Nazism. He tried to reconcile Marxism with his Jewish cultural heritage and avant-garde artistic trends. His work focused on critical thinking, the critique of modernity and mass culture. His life was marked by the search for truth and understanding of the modern world, which led him to explore various currents of thought. Two World Wars and the rise of fascism shaped his perspective on society and culture.
However, his personal life was also marked by instability and the search for a refuge in the midst of chaos, probably influenced by the tumultuous events of his time. For that reason and the fact that the political situation in his home country of Germany was becoming increasingly dangerous for Jews and left-wing intellectuals, in 1932 he moved to Ibiza, which at that time was a place far from modernity and mass culture, anchored in the past, offering Benjamin an ideal respite and space for reflection.
At that time, he felt the need to flee from the great European metropolis to find tranquility in a place dominated by tradition and old customs, without a hint of modernity. In his own words: “The island is on the fringes of the movements of the world, even of civilization”.
Old postcards of Ibiza. Source: Walter Benjamin Archive
Life in Ibiza was a period of intense intellectual production for Benjamin. Despite the difficulties he faced, he found on the island a place conducive to creation. In this context, Benjamin began to develop some of his most important ideas, which would later take shape in his most renowned work: “The Work of Art in the Age of Mechanical Reproduction”.
The arrival in Ibiza
Walter Benjamin had no clear notion of what awaited him when he decided to undertake his first trip to Ibiza in 1932. In Germany, the Weimar Republic, a democratic state that would be overthrown by hyperinflation and the Nazism of the Third Reich shortly thereafter, was in its final stages. In Spain, just a year earlier, the Second Republic had been established. Benjamin abandoned a relatively comfortable life in a large European city like Berlin to explore a remote and virtually unknown destination. The small Mediterranean island was on the prelude of tourist development, a place where modernity had not yet made its appearance, or anything like it.
Photos from before tourism arrived in Ibiza. Left: Ibicencan finca / Right: Ibicencan family; special occasion or festivity dress
Benjamin lived in Ibiza at two intervals: from April to July 1932 and from April to September 1933. During these stays, the German philosopher went through several personal crises and developed a special bond with the island.
Ibiza was at that time an archaic place, which represented for a class of urban artists and writers the lost essence of a Europe that industrialization had made disappear from many places. Moreover, it was a very cheap place for foreigners and for Benjamin it meant being able to live from his collaborations in the press, radio and some literary projects, although without any kind of luxuries or “bourgeois comforts”, as he himself described in his writings and letters.
As beautiful as the island [Mallorca] is, what I saw there only strengthened my attachment to Ibiza, which has an incomparably more reserved and mysterious landscape. The most beautiful images of this landscape are highlighted by the glassless windows of my room.
-Letter by Walter Benjamin to Jula Radt-Cohn (1933).
“It seems that travelers visiting the island of Ibiza in the early 1930’s shared the rare sensation of discovering a truly unusual world. That unexpected experience was due above all to the untouched beauty of its landscapes, the primitive appearance of its rural dwellings and the customs of its inhabitants. Traveling to Ibiza was like traveling back in time. For various circumstances, not only geographical but also historical, Ibiza had preserved its ancient character, the inheritance received from different civilizations, the self-absorbed solitude of a community that remained faithful to its traditions and in which not a single one of the usual signs of progress had managed to enter. A strange but solid fidelity to the origins surprised, then, those travelers who, at that time, decided to travel to the island and began to make it fashionable.”
Benjamin arrived in Ibiza by boat on April 19, 1932. He was recommended by his friend Felix Noeggerath, philologist and translator, who had described the island as a place of “absolute tranquility” and with “incredibly low prices”. Upon his arrival, the Berlin writer realized that he had arrived at a place where “it seemed that time had stood still”.
From May, he stayed in an old house, close to the coast, located in the bay of Sant Antoni, next to an old mill that gives its name to the place: Sa Punta des Molí. This house adjoined a larger one in which the owner lived with his family. As Walter Benjamin described it: “The most beautiful thing about it is the view, which allows one to contemplate the sea from the window and an island of rocks whose lighthouse illuminates me at night”.
Walter Benjamin, in white, with the Selz’s in Ibiza.
Walter Benjamin devoted most of his days to reading and writing. He lived without running water or electricity, enjoyed bathing in the sea early in the day and taking long walks. The German writer described those landscapes as “the most unspoiled I have ever seen on habitable land”.
Ibiza was, in comparison with its neighbors Mallorca and Menorca, the poorest island of the Balearic archipelago; an economic factor that became an attraction for foreigners, who could live from their art without luxuries but with a certain solvency. For example, according to Benjamin, a stay cost between 60 and 70 German marks at the time, per month.
“It is understandable, therefore, that the island is on the fringes of the movements of the world, even of civilization, and that it is also necessary to renounce all kinds of comforts.”
-Letter from Benjamin to Gershom Scholem (1932).
Port of Sant Antoni (1930s)
Benjamin lived in the village of Sant Antoni, one of the island’s population centers at the time. All the villages on the island consisted of a church, around which there were a couple of stores and a few houses. Unlike Mallorca and Menorca, the rest of the population of Ibiza lived in a dispersed way in the island’s territory, in the characteristic Ibicencan fincas, with a way of life based on tradition and subsistence economy. The peasants carried out agricultural and livestock tasks, made their own bread and wine, cut firewood, made charcoal and even hunted, among other activities; it was practically an autarkic lifestyle. An incipient bourgeois class began to appear, linked to the shipping companies and other manufacturing activities, but it was reduced and practically only in the port of Eivissa and in the citadel of Dalt Vila.
Bay of Sant Antoni (1930s)
What Ibiza was like when he lived there.
Between the twenties and thirties, two antagonistic worlds coexisted on the island for the first time: the older and the more modern. It was artists and intellectuals like Benjamin who helped to shape this “cultural myth” about Ibiza, based on the possibility of living “a different life”, in contact with nature and with a freedom that allowed the development of artistic creativity.
But, how was the coexistence between foreign and local intellectuals and artists? Again, Vicente Valero describes it in his book:
“Between 1932 and 1936, the island was visited by a good number of young people who aspired to be consecrated artists and professed noble anti-bourgeois ideals. Writers such as Albert Camus, Jacques Prèvert, Pierre Drieu La Rochelle, Rafael Alberti, María Teresa León, Josep Palau i Fabre and Elliot Paul, among many others, wrote about it in articles, books and poems. It was also in this way that the traditional Ibizan home became a symbol of both attitudes: it was, because of its location, a space conducive to artistic creation and it was also, because of its conditions, its structure and archaic typology, a space conducive to a life far removed from any bourgeois conventionalism.”
A group of travelers at the port of Ibiza.
It is well known that, both in the thirties and in the later wave of the sixties and seventies, a group of people arrived on the island whose lifestyles were practically antagonistic to the Ibicencan population. On the one hand, there were artists and intellectuals with strong countercultural and progressive tints, and on the other, a local population anchored in tradition and deeply religious. However, instead of a conflict caused by their strong differences and lifestyles, there was tolerance and peaceful coexistence.
In his book Vicente Valero also describes the origin of the “myth of Ibiza” that can still be interiores in the is isle today:
“The international myth of Ibiza, which had mainly in the hippie movement of the sixties its maximum promoter and spread, was created in the thirties by intellectuals and artists who made the island an alternative space, perhaps a little by chance, but a space where it was possible to write or paint freely, bathe naked, take hashish and, above all, feel interpreter of nature, in a kind of Arcadia lost and happily found.”
Before the great transformations brought about by construction linked to tourism development, the island stood out for the primitive appearance of its rural houses – whose architecture was very attractive to members of the Bauhaus School and the GATEPAC group– aswell as the ancestral way of life of its inhabitants.
The German philosopher was fascinated by this virgin island, impregnated with an archaic world that was about to be transformed forever. For him, the Ibicencan country house accurately defined the differences between pre-industrial modes of construction and the architecture of his time. He encounters a cultural and intellectual environment that arose around those traditional houses; as the landscape of Ibiza itself was, at that time, practically untouched.
The peasant houses were an architectural element that connected to ancient Ibosim, when the island was colonized by the Phoenicians, some three thousand years before. Benjamin used to criticize modern architecture for its functionalism and its disconnection with human experience. For the German philosopher, modern architecture transformed the living space by “dehumanizing” it, which also implied the loss of “the aura”; which, for him meant beauty, uniqueness and tradition.
From left to right: Jean Selz, Paul Gauguin, Walter Benjamin and fisherman Tomás Varó, sailing in San Antonio Bay (1933).
However, the threat of progress was present in what was only a foretaste of what Sant Antoni would become over the decades. During his first three months, Benjamin lived with intensity the experience of that ancient world in the process of dissolution.
In the first of his letters he writes to his friend Gershom Scholem, a few days after his arrival, in April 1932:
“It remains to be said finally that there is a serenity, a beauty in men – not only in children – and, in addition to that, an almost total freedom from strangers that must be preserved by the parsimony of information about the island… Unfortunately, all these things may be threatened by a hotel that is being built in the port of Ibiza.”
During his second stay, in a new letter to Scholem in June 1933, he writes:
“Now I take every opportunity to turn my back on San Antonio.If you look closely, in its surroundings, battered by all the horrors of the activity of its inhabitants and speculators, there is no longer a secluded corner or a minute of tranquility.”
While the letters and writings of 1932 Benjamin emphasizes the positive impression, generated by the beauty of the landscape and the possibilities it offered; in the letters of 1933, on the other hand, a tone of exhaustion and uncertainty predominates, produced by the personal difficulties of being an exile in conditions of poverty and an island that little by little increases its costs of living due to the increasing presence of tourists.
In those years, there were only two guesthouses in Sant Antoni, to which three more would be added in 1933. Work on the first, the Hotel Portmany, began in October 1931 and was completed two years later. 1933 was a key year for Ibiza’s tourism industry, since at the same time other emblematic establishments were inaugurated on the island: the Buenavista Hotel, the Gran Hotel and Isla Blanca Hotel.
Left: the first hotel in Sant Antoni, the year of its inauguration (1933) / Right: view of downtown Sant Antoni, towards Sa Conillera islet (1931)
Benjamin’s second period on the island was less happy than the first. He returned in April 1933, forced by the totalitarian climate in Germany. As he was a Marxist sympathizer and of Jewish origin, he was considered an two times enemy for Nazism. From September of the same year his health deteriorated. Benjamin suffered from infections, fever and general weakness; it was not until some time later that he learned that it was due to the malaria he had contracted.
In September 1933, he writes the following in a letter to his friend Gershom Scholem:
“The fact that I can barely stand on my feet, the impossibility of speaking the language here and the additional necessity of having to work as much as I can, drive me, at times, in such primitive living conditions, to the limits of the bearable.”
On September 26, he had to leave the island for good, bound for Barcelona, on his way to Paris.
Benjamin died, exactly on September 26, seven years later. The writer needed to leave France to travel to the United States. A year before World War II started, he was interned in a concentration camp in France, because he was a “non-naturalized German”. He was then interned in a French center for voluntary workers, but managed to get out of there with the help of influential French friends. On his way to the USA, he had to enter Spain first.
Guided by writer and activist Lisa Fittko, who helped many people escape from Nazi-occupied France, and accompanied by photographer Henny Gurland and her son, Benjamin arrived in Portbou on September 25, 1940. However, upon arrival, he was intercepted by Franco’s regime police because he lacked a required visa. His friend Adorno had helped him obtain transit visas in Spain and entry visas to the US, but he simply did not have a French permit to leave the country. His companions did get through to continue their journey.
Benjamin knew that if he returned to France he would be caught by the Gestapo, who were looking for him. He always traveled with a dose of morphine pills for desperate situations like the one he was in. As he wrote on September 26, 1940:
“In a no-win situation, I have no choice but to end it. I am in a small village in the Pyrenees, where no one knows me, where my life is going to end. I ask you to convey my thoughts to my friend Adorno, and to explain to him the situation to which I have been driven. I do not have enough time to write all the letters I wished to write.”
These were perhaps the last words of Walter Benjamin, one of the most brilliant and influential thinkers of the 20th century.
THESIS IX / “Theses on the Concept of History”, Walter Benjamin in 1940 (fragment from his last work):
“There is a painting by Klee called “Angelus Novus” depicting an angel contemplated and fixated on an object, slowly moving away from it. His eyes are opened wide, his mouth hangs open and his wings are outstretched. This is exactly how the Angel of History must look. His face is turned towards the past. Where we see the appearance of a chain of events, he sees one single catastrophe, which unceasingly piles rubble on top of rubble and hurls it at his feet. Much as he would like to pause for a moment, to awaken the dead and piece together what has been smashed. But a storm is blowing in from Heaven, it has caught itself up in his wings and is so strong that the Angel can no longer close them. The storm drives him irresistibly into the future, to which he turns his back, while the heap of rubble in front grows sky-high. What we call progress is this storm.”
“The work of art in the age of its mechanical reproducibility” (his best known work):
The extraordinary thing about Walter Benjamin’s best-known book is that it is still the order of the day and has proven to be on the track of events long before reproducibility developed in its full form, as we experience today. It should therefore surprise no one that it remains a reference teaching material in high schools and universities; even beyond art, philosophy or sociology majors.
A couple of key ideas that appear in this work:
According to Benjamin, art would no longer be primarily auratic, that is, predominantly with a cult value, but profane art, in which the experience of the observer and the public exhibition of the work is more important than restricting it to specialists, kings, popes and bourgeois. The industrialization of images made art more accessible, less private, more profane and less sacred.
The Berlin writer comments that post-auratic art is an art in which the political overcomes the magical/religious. The work tends to cease to be a sacred and exclusive object, and begins to be a universally accessible object. The work of art in the age of technical reproducibility implies a displacement of the image from its cult value to an exhibition value. Before the industrial revolution the work belonged to a restricted enjoyment, reserved to the cult, to priests, nobles and specialists. In capitalism the work of art has a more open enjoyment, everyone is invited to this pleasure and aesthetic experience, as this little scheme shows:
Benjamin thought that avant-garde art and the technique of image reproduction would play in favor of the political awakening of the masses in a world in which social revolution would triumph. Pointing to this tendency was the fact that many works of art of the time clearly had “political ingredients,” leftist messages and demands against war and fascism. Certainly, works of art have the power to speak in “another language”; one that through the work exposes social and political injustices or criticisms.
The possibility of reproducing images, works, objects, speaks directly of industrialization and capitalism. Walter Benjamin says that it is a phenomenon that accompanies the rise of the masses:
“(…) to approach things is as passionate a demand of the contemporary masses as it is in their tendency to go beyond the uniqueness of each event through the reception of the reproduction of the same. Day by day, the need to seize the object in its closest proximity, but in image, and even more in copy, in reproduction, becomes more and more irresistible.” (P. 48).
The image makes it possible to bring closer what is far away, what one does not have, even what has died. Cinema is seen as an instrument of massive influence in Benjamin’s book, who sees in this art the possibility of acting as a psychic vaccine:
“(…) when one realizes the dangerous tensions that technification and its aftermath have generated in the great masses (…) one comes to the recognition that this very technification has created the possibility of a psychic vaccine against such mass psychoses by means of certain films in which the forced development of sadistic fantasies or masochistic hallucinations is able to prevent their natural dangerous maturation among the masses ” (P. 87).
In conclusion, Walter Benjamin was a fascinating person whose life and work continue to captivate people around the world. Through his unique perspectives and innovative ideas, he made important contributions to the fields of philosophy, sociology, and literary criticism. His ideas on the intersection of history, memory and cultural production have had a profound impact on fields such as cultural studies, media theory and urban studies.
From his early years as a student in Berlin to his exile in Paris and tragic end, Benjamin’s life was marked by intellectual curiosity and a deep passion for knowledge. His critical engagement with modernity and capitalism challenged conventional wisdom and offered alternative ways of thinking about society.
Walter Benjamin’s legacy lives on through his writings and influential ideas, and his work reminds us of the power of critical thinking and the importance of challenging established norms. His enduring influence and intellectual prowess make him a figure worthy of exploration and study.
The relationship between psychology and architecture has become more relevant recently, in the last two or three decades. It is estimated that we spend on average 80 to 90% of our time indoors, including activities at home, at work, in schools and other indoor environments.
The study that addresses this question is psychological architecture or psychology of architecture (since there seems to be no consensus on a single term yet), and it starts from the thesis that the design of our spaces can directly and profoundly influence our mental and emotional well-being.
In this article we will explore how to use architecture as a tool to improve well-being and mental health, focusing on psychological architecture, its characteristic elements, how to apply it, some real examples and some variants or sub-branches, and then describe how to apply it in our own private home. The vast majority of these “recipes” are perfectly complementary to virtually any style and relatively easy to implement, even without building work in an existing house.
Psychological architecture
Psychological architecture or architectural psychology is an interdisciplinary study that examines how the built environment affects human behavior and mental health. This relatively recent approach considers elements of our environment such as light, color, space and acoustics, applying research in psychology, sociology and neuroscience to design spaces that promote, among other things, well-being and productivity.
This science is based on the principle that the human being is an “open system,” an interdependent complex that ranges from large-scale systems, such as the nervous, digestive and immune systems, to the internal metabolism of a cell. All exhibit a property called homeostasis, which is the innate ability of every cell in every complex organism to maintain a stable and constant condition, all by employing interrelated internal regulatory mechanisms.
The brain is an important regulator of all these systems (including the psychological system we call “the self”). From this point of view, “the self” could be considered a homeostatic mechanism that evolved to help us maintain equilibrium in our complex social relationships. Like all living complex adaptive systems, humans must cope with external ecosystems in order to survive. Many neuropsychologists believe that managing the interface between the internal experience of our body and the perception of the external environment is the main purpose of our brain.
For example, this article explains how in the 1990’s, Sentient Architecture faced a challenge in residential architecture: although clients offered their own criteria for designs, those same criteria often led to their dissatisfaction. By accepting these instructions without delving deeper, the architect was producing preliminary designs that did not meet the clients’ true needs, resulting in higher time and production costs, at best. Clients were disappointed and somehow unconsciously expected designers to “read their minds.” It turns out that the key to solving this problem lay in understanding that clients were not just looking for a building, but for an emotional experience, which required exploring the psychological and environmental associations that already existed in their minds.
Psychological architecture is based on a deep understanding of how spaces influence our emotions and behaviors. We can create environments that foster well-being and human connection by considering principles such as perception, memory, and sensory experience. These principles invite us to think about how every element of a space can affect our state of mind, creating places that we not only inhabit, but also inspire us and make us “feel at home.”
The fundamental principles of psychological architecture (theoretical):
– Perception: based on how individuals interpret their environment, the way spaces are designed can influence the perception of safety, comfort and functionality.
– Space and place: based on the relationship between physical space and people’s emotional experience, a design that considers the connection between space and sense of belonging can enhance well-being.
– Identity: architecture can reflect cultural identity. Spaces that resonate with people’s identity can foster a sense of community.
– Human behavior: designs that facilitate social interaction and mobility can enhance the lived experience.
– Emotion: as we have seen above, spaces can evoke specific emotions. The choice of colors, textures and shapes can influence the mood and overall experience of the inhabitants.
– Functionality: architecture should be practical and meet the needs of those who use it. Functional design improves efficiency and user satisfaction.
– Sustainability: by considering environmental impact and sustainability we can create spaces that are adaptable and durable.
In practice, the design that respects the above principles usually focuses mainly on the following elements:
– Natural Light: perhaps the most important element. Exposure to natural light has even been linked to improved mood and reduced depression. Although a balance must be struck, as overexposure to sunlight can also have counterproductive effects; for example, the problem in winter of large windows facing directly south and the stress that this can produce.
– Artificial light: in environments where natural light is scarce, such as in Northern European countries during the winter months, proper lighting can help combat fatigue and seasonal depression. Good lighting in the home promotes a cozy and relaxing atmosphere (see: Scandinavian-style lighting), encouraging moments of rest and connection with loved ones. By choosing the right artificial light, we can improve our quality of life, optimize our sleep and create spaces that inspire and motivate us every day.
– Shapes: soft lines and organic shapes (sometimes even eliminating corners) can evoke feelings of calm and well-being, while angular and rigid structures can generate a sense of tension or discomfort. The height of ceilings and the proportion of spaces are also factors that affect psychological perception.
– Open spaces: encouraging social interaction can help reduce the feeling of isolation. Similarly, an interior design with open and diaphanous spaces has also been found to have a positive effect on individual well-being.
– Colors and Textures: warm colors can create a cozy atmosphere, just as cool colors can create a more relaxing environment. The use of colors can also help define areas within a building, guiding people and creating a sense of order.
– Acoustics: Good acoustics, where sounds are absorbed, can create a more relaxing and comfortable environment, which can reduce stress and encourage concentration; whereas a place where sounds are reverberated or distorted can be distracting and uncomfortable. In addition, acoustics can influence privacy and intimacy; in offices or public spaces, proper acoustic design can help people feel safer and more comfortable talking, which encourages communication and collaboration.
It must be said that in many occasions these perceptions are subconscious; so, even if it is not something evident to us, external elements can induce sensations in us that we are not directly aware of.
One example of a building that was designed based on many of the principles of psychological architecture (and, among others, does not contain a single corner) is Maggie’s Centre, a café and social building in Leeds, England, conceived to be a place where patients and families of the attached hospital can recover good feelings.
Color is a powerful element in architectural design that can influence people’s emotions and behaviors. Color psychology is used to create environments that promote well-being.
Emotional Architecture
With a special emphasis on colors, it is worth mentioning that there is a sub-branch or variant: emotional architecture, originated in Mexico by architect and engineer Luis Barragán. The differences with psychological architecture are subtle; since emotional architecture focuses on how built spaces can evoke feelings and experiences in people and seeks to create environments that foster positive emotions (such as happiness, calm or inspiration), mainly through elements such as light, color and the arrangement of space, while psychological architecture focuses its study on a more holistic plane, how the environment affects the behavior and perception of people, also considering aspects such as functionality, ergonomics and acoustics, among others.
Warm and Cool Colors
Depending on their temperature, colors can have an influence in one way or another:
– Warm colors: shades such as red, orange and yellow can evoke feelings of energy and warmth, but can also be overly stimulating if used in large quantities.
– Cool colors: shades such as blue and green tend to be more relaxing and can help reduce anxiety, making them ideal for workspace environments, but excessive use can also lead to lethargy or demotivation. Too much blue can evoke sadness or melancholy, while too much green can be overwhelming.
Creating Specific Environments
The choice of colors is not only based on aesthetics, but also on functionality and the emotional impact they can have on occupants. Here are some examples of how colors can be used to create specific environments:
– Learning spaces: In schools, the use of bright, cheerful colors in common areas can foster a dynamic and stimulating learning environment. Classrooms can benefit from a color palette that inspires curiosity and creativity, i.e., warm colors.
– Work environments: in offices, neutral and soft colors can be used to encourage concentration and productivity. However, more vibrant color accents can be incorporated in break areas to stimulate creativity and collaboration.
The importance of acoustics
Acoustics is an often underestimated aspect of architecture, but it has a significant impact on the occupant experience. Proper acoustic design can improve concentration, communication and overall well-being.
Acoustic design strategies
– Absorbent materials: Using sound-absorbing materials, such as acoustic panels and carpeting, can help reduce noise in public and private spaces. This is especially important in environments such as schools and hospitals, where noise can be a source of stress.
– Absence of corners: in a building can have a positive impact on acoustics by reducing the formation of unwanted echoes and sound reflections. Corners tend to concentrate and amplify sound, which can generate distortions and annoying noises. By designing spaces with curved shapes or continuous surfaces, a more even dispersion of sound is encouraged, which improves acoustic quality. In addition, these shapes can help minimize areas where sound accumulates, creating a more pleasant and comfortable environment. In short, a corner-free design can contribute to a better acoustic experience in a space.
– Space design: the layout of spaces can also influence acoustics. Creating quiet areas away from noisy areas can provide a haven for concentration and relaxation.
– Quiet zones: incorporating quiet zones in work and educational environments can give people a space to unwind and recharge, which is essential for mental well-being.
Intersection between sustainable architecture and psychological architecture.
Interestingly, sustainable architecture not only has an effect on energy efficiency and reduced environmental impact, but also has a positive effect on the psychology of the occupants. These are the two most notable characteristics it can have in terms of its influence on the people who live in it:
Connecting with Nature
Incorporating natural elements into architectural design, such as large windows with outdoor views or vertical gardens, can improve mood and reduce stress. Green spaces, especially in urban settings, not only improve aesthetics, but also provide a place for recreation and relaxation. In addition, the use of sustainable materials in construction (which are usually natural as a rule) can create a healthier and more welcoming environment.
Energy Efficiency
Aside from the fact that economic savings on utilities can alleviate financial stress, design that considers thermal efficiency in balance with the natural climate can create a healthier and more comfortable environment. Well-lit and ventilated spaces that use natural resources effectively can improve the quality of life for their occupants, as natural sunlight and outdoor air (unless we live in the center of a city) are preferable to their artificial counterparts. Therefore, it can be said that energy efficiency in architecture not only reduces environmental impact, but can also influence mental health.
And this brings us to a related concept which, in turn, can be considered a variant or sub-branch of psychological architecture:
Biophilia
Biophilia refers to the innate connection that humans have with nature and can be considered as a key principle in psychological architecture or, in its more purist expression, perhaps even as an alternative branch.
In the context of architecture, biophilia translates into the design of spaces that integrate natural elements, thus promoting the physical and mental well-being of their occupants. This approach is based on the idea that proximity to nature can reduce stress, improve concentration and enhance creativity.
The incorporation of biophilia into architecture can manifest itself in a variety of ways. For example, the use of natural materials, such as wood and stone, not only adds warmth and texture to spaces, but also creates a more welcoming and healthy environment. In addition, designing buildings that maximize natural light and views to the outdoors allows occupants to feel more connected to their surroundings, which can have a positive effect on their mood. Vertical gardens, green roofs and outdoor spaces are other ways to integrate nature into architecture; they not only beautify the environment, but also contribute to sustainability by improving air quality and reducing urban temperatures. Creating spaces that encourage interaction with nature, such as patios and terraces, can encourage socialization and community well-being.
Studies have shown that biophilic environments can have a significant impact on mental and physical health. Exposure to nature has been associated with reduced anxiety, improved mindfulness and an increase in overall life satisfaction. In an increasingly urbanized world, biophilia in architecture presents itself as a valuable solution for creating spaces that nurture both people and the environment; especially in urban spaces it is starting to become a trend.
An example of this is the Fuji Kindergarden, built in Japan by Tezuka Architects, an oval-shaped kindergarten with a perimeter of 183 m, with a capacity for 500 children. It is conceived as a village in a single building. The interior is a softly partitioned integrated space with furniture. Three preserved 25 m high zelkova trees protrude through the roof.
How to apply psychological architecture in the home
These principles can also be applied in the private home. To create an environment that is not only aesthetically pleasing and, in turn, promotes well-being and functionality. Knowing how to choose which general elements and features to apply in your own home is a combination of knowing yourself (or, in the case of the architect, knowing your clients’ preferences and lifestyle) and knowing what can be applied in a predefined space or home location.
Some strategies for integrating psychological architecture into the design of a home:
– Space Layout: An open design that connects areas such as the kitchen, dining room and living room can encourage communication and family togetherness. More intimate spaces, such as reading nooks or sitting areas, can offer refuge and tranquility. In this case, it is important to know people’s lifestyles, how they will move around and use the spaces, which can determine the range of preferences.
– Natural and artificial lighting: Natural light has a profound impact on our mood and well-being. Incorporating large windows, skylights or sliding doors that connect the indoors to the outdoors can maximize the entry of natural light. Daylight also regulates circadian rhythms, which can help improve sleep and energy. Similarly, well-applied artificial light can compensate for a lack of natural light, such as winters in Northern Europe or being in an urban space. For this, you can consult the solutions offered by the Nordic or Japanese style of lighting, or the fusion of the two, which seems to be a recent phenomenon that is on the upswing.
– Colors and materials: it is essential to select a palette of colors and materials that resonates with the personality and preferences of those who will inhabit the space. Warm colors, such as terracotta or yellow tones, can evoke feelings of warmth and comfort, while cool tones, such as blue or green, can convey calm and serenity. Likewise, the use of natural materials, such as wood and stone, can create a cozy atmosphere.
– Connection to nature: As we have seen, biophilia is a key principle in psychological architecture. By incorporating natural elements into the home, such as indoor plants or a focus on outdoor views, the emotional and physical well-being of the occupants can be improved. Plants not only purify the air, but also bring a sense of life and freshness to the space. Outdoor spaces, such as terraces or patios, can also be created to enjoy nature and encourage outdoor activities.
– Acoustics and silence: to create a serene environment, it is important to consider the use of sound-absorbing materials such as carpets, heavy curtains or, in more extreme cases, acoustic panels. If designing a building from scratch, you can also consider the absence of corners, even in some parts of the house. The home can also be laid out to minimize outside noise, by moving rooms away from noisy streets, and even create quiet zones, where moments of peace and reflection can be enjoyed.
– Ergonomics and furniture: furniture should be comfortable and functional. Ergonomics plays an important role in preventing injuries and promoting wellness; for example, chairs and tables at the right height can improve posture, while well-designed storage spaces can reduce clutter, feelings of chaos and underlying stress.
– Personalization and/or personal expression: Personalizing the space through artwork, photographs and meaningful objects can create a sense of belonging and emotional connection. In addition, allowing each family member to have a space that reflects their individuality can foster an atmosphere of respect and harmony.
– Technology and connectivity: the integration of technology in the home is a recent phenomenon and can also influence psychological well-being if applied for this purpose. Domotic homes” are an example of how many functions that were not even possible before can be automated and even made possible. To name a few examples, we have intelligent lighting systems, programmable thermostats and sound control devices that can help create an environment for more well-being. For example, the ability to adjust lighting based on time of day or mood can have a positive impact on energy and productivity. That said, we think it is equally important to balance technology with moments of disconnection, creating spaces where tranquility can be enjoyed without digital distractions; for example, network inhibitors could be used.
Applying psychological architecture in the private home involves considering how every element of design can influence the emotional and physical well-being of its occupants. From the layout of space and natural lighting to the choice of colors, materials and furnishings, each design decision can contribute to creating an environment that is not only functional and aesthetically pleasing, but also promotes mental health and overall well-being.
In fact, the vast majority of these principles can be applied regardless of architectural or interior design style preferences, unless very particular architectural styles are in direct contradiction (which is also the great exception). Many of these measures can be considered complementary, that is, it is not a choice between one style or another but to improve as much as possible within an existing framework, even in homes with very little room for variation, such as apartments or townhouses.
Here are two examples of homes that were conceived from scratch, taking into account most, if not all, of the principles of psychological architecture:
In this case, we see in the interior of this villa, designed by the popular local architect Rolf Blakstad, a clear example of priority for natural light, a strong presence of nature through the large windows, large open spaces and high ceilings, thick and insulated walls (for better acoustics), a prominence of natural materials and sustainable architecture (taking advantage of bioclimatic). In fact, the latter is an attribute drawn from the traditional architecture of Ibiza, on which the Blakstad style has been based since its origins, although modernized and adapted to modern needs and trends. Regarding the color, it is basically white (sensation of amplitude and space), which contrasts with the most used natural materials, wood and stone.
The following villa, designed by architect Bruno Erpicum, shows a very similar case, in terms of the aforementioned attributes, but thanks to being more minimalist cut, it expands even more the entrance of light, its impressive views and the amplitude of the interior spaces. The ceilings are still high, but the management of acoustics is solved with attenuating materials, there is a smooth transition between the interiors and the large terraces, it uses its location to take advantage of the bioclimatic of the place and the seasonal orientation of the sun.
Both villas are for sale through our agency and if you are interested, please do not hesitate to contact us here.
Welcome to the step-by-step guide for property buyers in Ibiza
With this article we want to provide you with the most complete information possible and prepare you for the process of purchasing a home on the island.
Whether you’ve done it before or not, it’s always a challenge to buy a property. For that reason, the more informed you are about the process beforehand, the more relaxing it is and the most likely you are to get the property you want, in turn reducing unforeseen expenses and setbacks.
With more than 30 years of experience in the Ibiza real estate market, we have assisted hundreds of clients in purchase and sale operations of properties of all types. Based on our experience and the doubts that our clients usually have, we have created this complete guide to resolve common questions and begin the search process as best prepared as possible.
This guide is quite long, ordered by the different phases of the purchasing process. You can jump directly to a section or point by clicking on the link in the table of contents.
Which taxes and fees do you pay when buying property in Ibiza?
First of all, let’s get an idea and understand the costs and taxes of buying a property in Ibiza. Among them we have fixed or essential costs, such as taxes, and others that are variable and depend on the circumstances.
A summary of the taxes and costs when buying a property in Ibiza:
• Property Transfer Tax (ITP)
• Value Added Tax (IVA)
• Legal costs (lawyers)
• Mortgage fees and appraisal expenses
• Notary and Property Registry Fees
• Processing fees (gestoría)
• Banking expenses
When purchasing property in Ibiza, it is important to take into account the various tax implications. The Value Added Tax (VAT) is applied to land, commercial premises, garages and any type of newly built property, while the Property Transfer Tax (ITP) is paid on the rest of the properties for residential use. Let’s start with this last one, since it is the most common case on the island:
Let’s start with the latter, since it is the most frequent case:
The Property Transfer Tax (ITP)
This tax is levied on second-hand properties and is calculated as a percentage of the purchase price.
The tax must be paid at the Tax Office of the municipality where the property is located within one month from the date of granting the title of the property. In the Balearic Islands, the tax rate ranges between 8% and 13% depending on the value of the property being transferred.
The ITP tax is cumulative, so the first €400,000 is taxed at 8%, and the rest that exceeds that amount will be charged at the percentage corresponding to its bracket.
As an example, the ITP of a property with a sale price of €2,500,000 will be calculated as follows:
• Up to €400,000, at 8% = €32,000
• €199,999, at 9% = €17,999.91
• €400,000, at 10% = €40,000
• €1,000,000, at 12% = €120,000
• €500,001, at 13% = €65,000.13
Total: €275,000.04 of ITP for a total purchase value of €2,500,000
Value Added Tax (IVA) and Stamp Duty (AJD)
When it comes to the purchase of a newly built home as the first occupancy transferred by the promoter or builder, the Property Transfer Tax (ITP) does not apply. Instead, the buyer must pay two other taxes: Value Added Tax (VAT) and Documented Legal Acts (Stamp Tax or AJD).
1. Value Added Tax (IVA/VAT)
The VAT is paid by the buyer (together with the purchase price) to the seller and the seller must transfer the VAT directly to the Tax Agency.
• 10% for homes.
• 21% for land, commercial premises, storage rooms and garages.
2. Stamp tax (“Documented Legal Acts Tax” or AJD)
When the purchase of a property is subject to VAT, the buyer must additionally pay the Stamp Tax or AJD (Documented Legal Acts), of 1.2% less than or equal to €270.151,20 or 1.5% of the total purchase value less than €1,000,000 and 2% above this figure*, and must be paid within one calendar month from the day the property title is signed through the self-assessment procedure.
Legal costs (lawyers)
Involving legal professionals during the property acquisition process is essential to ensure a smooth transaction and protect your interests. Legal costs typically include hiring an experienced attorney who specializes in real estate law. These legal experts will guide you through every step of the process, ensuring that all necessary paperwork is completed accurately and advising you on any legal implications related to your purchase. Lawyers established in Ibiza normally charge 1% of the property sales price.
Mortgage fees and appraisal expenses
If you require financing for the purchase of your property, it is essential to consider the additional expenses associated with mortgages. These costs often include property appraisal fees, which determine the market value of the property and help the lender evaluate its suitability as collateral. While these fees vary depending on the complexity and value of the property, it is essential to budget for this expense during the purchase.
The expenses surrounding the appraisal required by the credit institution are an official property evaluation document carried out by a surveyor or architect selected by the lender. Depending on the value and size of the property, the price can vary between €400 and €3000.
The mortgage loan in Spain may have an opening fee to contract it, but it varies depending on the bank, if at all. If this extra cost exists, it would be between 0.5-3% of the total amount of the loan.
Notary and Property Registry Fees
To finalize a property transfer, you will need to hire a notary public who will oversee the legal aspects of the transaction. The notary is responsible for preparing the official deed, verifying its legal accuracy, and ensuring that it is signed correctly. Notary fees are generally calculated based on the purchase price of the property. Additionally, there are property registration fees that cover the cost of registering your property with the appropriate authorities. These fees vary depending on factors such as property value and location and whether you have a mortgage, but typically are no more than 0.2% of the purchase price.
Processing Fees (Gestoría)
A gestoría is a management company and an administrative agency that helps in managing procedures and administrative tasks related to the purchase of your property. Hiring an accredited agency can simplify bureaucratic processes, ensuring compliance with all legal requirements and saving you time and effort. The fees charged by the agencies may vary according to the services provided, depending on the complexity of the process involved.
Banking expenses
They vary depending on the bank and the payment method. Mostly these are costs for bank transfer, foreign currency exchange, opening a bank account, etc. We recommend that you take the time to study the payment methods, especially when it comes to large amounts, since you can save unnecessary costs imposed by banks and/or savings banks.
Summary of taxes and expenses of buying a property in Ibiza:
–Taxes: ITP 8-13% or 10% of VAT plus 1.5-2% stamp duty (AJD)
–Notary and Property Registry Fees: range between 0.1% and 0.5%.
–Processing agency fees: depending on services required (variant)
–Banking charges: depending on payment method (variant)
A2. Necessary documents
Which documentation is needed to buy a property in Ibiza?
Before signing the property title:
The personal documents required for signature before a notary are the following:
• The original DNI or passport
• A personal NIE number (if you are a foreigner)
The NIE is the identity number of foreign residents who carry out an economic activity in Spain. The NIE must be presented before a notary and is necessary to pay taxes. The processing period to obtain a NIE usually takes no more than a month. Your gestoría or lawyer can assist you with this process; or visit this page for further guidance on the process of obtaining a NIE and this page for information for UK citizens.
• If the buyer is a Spanish company, it must present the CIF number. If the company is foreign, it must obtain a Spanish tax identification number.
• A Spanish bank check or proof of bank transfer, depending on the payment conditions agreed between the parties. Foreigners who buy for the first time in Spain must open an account in a national bank, which after the purchase is used to direct debit the costs of telephone, electricity, etc.
• A receipt or proof from the bank of any transfer or payment made for signature before a notary. These proofs are necessary to comply with the requirements of the origin of the funds.
To sign the property title:
• Private purchase and sale contract or deposit contract: The private or deposit contract is a document that describes the terms and conditions agreed upon between the buyer and the seller. Include details about the property, purchase price, payment schedule, and any additional clauses or agreements. This contract can be prepared by a qualified attorney or gestoria.
• Deed of sale: Once all the legalities are completed, the property deed is signed before a notary public. This document officially transfers ownership from the seller to the buyer. The deed includes detailed information about the property, including boundaries, specifications, and any liens, if applicable.
* Buying a house in Ibiza requires careful preparation and compilation of the necessary documentation. We recommend that buyers prepare the documentation and means of payment well in advance, so that the purchase of the property is successful and without setbacks. If specific questions arise, you can consult your real estate agent or attorney.
A3. Mortgage / secure funding
¿Qué papel juega la hipoteca en la compra de una propiedad en Ibiza?
Get Pre-approved
It’s important to get pre-approved as it not only gives you clarity on how much you can pay, but it also shows sellers that you are a serious and qualified buyer.
Understand pre-approval.
Pre-approval is essentially an evaluation of your financial situation by the bank to determine how much they are willing to lend you. It involves submitting necessary documentation, such as income verification, credit history, and employment details. Please note that pre-approval is different from pre-qualification: while pre-qualification provides an estimate based on self-reported information, pre-approval carries more weight as it involves extensive verification.
Benefits of pre-approval:
1. Know your budget: By getting pre-approved, you will have a clear understanding of your budget range. This knowledge allows you to focus on properties within your financial means and avoid wasting time on homes that may be out of your reach.
2. Greater bargaining power: With a pre-approval letter in hand, sellers and real estate agents will consider you a serious buyer. This can give you an advantage in negotiations, especially in a competitive market like Ibiza.
3. Faster Closing Process: Since much of the paperwork and verification has already been completed during the pre-approval stage, the mortgage process will likely move more quickly once you find your dream property.
Finding the right bank for your mortgage
Choosing the right financial institution is essential when it comes to obtaining financing for the purchase of your property. Here are some key considerations to keep in mind:
Search for a Lender
Take the time to research different financial institutions and compare their offers. Look for an entity with experience in offering mortgages for international buyers.
Don’t settle for the first candidate you find. Instead, get quotes from multiple entities to compare the interest rates, fees, and terms they offer. Remember, even a small difference in interest rates can result in substantial savings over the life of the loan.
Understanding mortgage options
There are several mortgage options available, so it is important to understand which one best suits your needs. Some common options include fixed-rate mortgages, adjustable-rate mortgages, adjustable-rate mortgages (ARMs) or “mixed” mortgages, interest-only mortgages, and government-backed loans, such as youth or group mortgages. Here is a reference article that explains various types of mortgages.
Evaluation of interest rates and terms
Interest rates play an important role in your monthly mortgage payments. Compare interest rates offered by different candidates and pay attention to any additional fees or charges that may apply.
If the search seems daunting, consider consulting a mortgage broker. Brokers have connections with multiple banks and can guide you to those that best suit your financial situation and property preferences.
Evaluate customer service
A reputable bank should provide excellent customer service throughout the mortgage process. This includes clear communication, quick responses to queries, and transparency regarding rates and terms.
Search recommendations
Don’t hesitate to look for recommendations from friends or family who have recently bought houses in Ibiza or even your real estate agent. Their first-hand experiences can help you find the best option.
Closing of the mortgage
Once your application is approved, the final step is to close the mortgage. This involves signing the mortgage contract in a public deed before the notary, paying the closing costs and receiving the funds from the bank. It is important to carefully review the mortgage agreement before signing it to make sure you understand all the terms and conditions. Once the agreement is signed and the transaction is completed, you officially become a homeowner.
A4. Market situation and regulatory environment
Ibiza market outlook (2024-25)
The beautiful island of Ibiza has long been recognized as a premier tourist destination, attracting visitors from all over the world. However, beyond its vibrant nightlife and stunning beaches, Ibiza is also an increasingly desirable place to call home. In this property market outlook for 2024-25, we will delve into few of what we consider key points driving valuation trends, like lifestyle, property listing volume, buyer nationalities and the construction regulatory environment in Ibiza, among others.
If you are a prospective homeowner or simply curious about the real estate landscape of this stunning island, join us as we explore why Ibiza remains an object of desire for many.
Ibiza: a tourist destination and a place to live
Ibiza’s popularity as a tourist destination has seen a steady rise for at least 5 decades and has skyrocketed in recent years. Its picturesque landscapes, crystal-clear waters and vibrant culture have captivated travelers seeking relaxation and excitement. However, what sets Ibiza apart is its growing reputation as a great place to live all year round.
The island offers an incredible quality of life with its mild Mediterranean climate, known for its long, sunny days and mild winters. Outside of the peak season, this climate allows residents to enjoy a variety of outdoor activities, from relaxing on the beach to exploring the stunning natural landscapes, but also sees a growing cultural and culinary offering throughout the year.
The island’s unique culture and lifestyle also contribute to its appeal. Ibiza is a melting pot of influences that combines traditional charm with modern cosmopolitan style. Its diverse community welcomes people from all walks of life, creating a vibrant, liberal atmosphere that increases the island’s appeal and creates a unique blend of cultures that enriches daily life.
Quality infrastructure and amenities
Residents can enjoy a relaxed lifestyle while having access to modern amenities such as top-notch healthcare facilities and international schools. Ibiza has an international airport, with direct flights to many destinations throughout the year, and a wide network of roads in good condition. Additionally, the island is home to world-class restaurants, extensive wellness offerings, high-end fashion boutiques and vibrant nightlife venues, providing its residents with a luxurious lifestyle if they so please. Living here becomes comfortable and convenient.
Valuation trends: a steady rise in property prices
An important aspect of the real estate market in Ibiza is the constant increase in property prices. In recent years, demand has consistently exceeded supply due to the limited availability of land on the island. As a result, property values have seen continued growth.
Although price dynamics by themselves can never be considered a compelling argument for making a future forecast, it nevertheless has a certain meaning to observe how this phenomenon has come to take hold in the mind of the international investor and, so to speak, certain types of properties in Ibiza have been elevated to the status of safe or refuge assets, tested by crises such as the great recession of 2008; especially severe in the rest of Spain, while Ibiza property prices remained practically unchanged and simply stopped appreciating for about 2-3 years.
Construction regulatory environment: balance between growth and preservation of limited space
Preserving the natural beauty and cultural heritage of Ibiza is a priority for both local authorities and residents. Consequently, the building regulatory environment is carefully managed to balance growth with sustainable development while protecting the island’s unique ecosystem.
Strict regulations exist to protect Ibiza’s unique landscapes, while also ensuring that new construction aligns with the aesthetic appeal of the island. This commitment to maintaining the charm of the island and enhances the overall appeal of properties in Ibiza.
Limited land supply and strict building regulations contribute to a greater property shortage, creating a unique dynamic where supply struggles to keep pace with demand. With high demand from domestic and international buyers, it can be difficult to find properties in prime locations.
However, this scarcity has created a feeling of exclusivity and appeal around real estate in Ibiza. Furthermore, the reaction of developers to respond to this challenge has been to focus on high-quality projects that maximize space and offer innovative designs.
Although the volume of property listings may not be as extensive as other markets, the focus on quality ensures that buyers can find exceptional options tailored to their preferences.
Nationalities of owners and buyers: an increasingly diverse mix
The Ibiza property market has always attracted a diverse range of nationalities looking for a piece of paradise. In recent years, there has been an increasing influx of international buyers from various parts of the world.
Traditionally dominated by European buyers, especially those from countries such as Germany and the United Kingdom, the Ibiza buyer profile has become more cosmopolitan and diverse over time. In recent decades, we have observed that nationalities such as French, Italian, Belgian, Dutch, Scandinavian, American and even from the east have increased their presence in the island’s real estate market, contributing to further diversifying the proportion of different nationalities of buyers in the island. This diversity not only adds vitality to local communities but also ensures a healthy market with a wide range of perspectives and preferences.
A diverse real estate market: something for everyone
The Ibiza property market offers a wide range of properties to suit various preferences and budgets. From luxurious villas and apartments with stunning views to quaint townhouses in charming villages, there is something for everyone on the island. This diversity makes Ibiza an attractive destination for both permanent residents and investors looking for the holiday home of their dreams.
High rental yield: a lucrative investment
Property in Ibiza also presents a lucrative investment opportunity due to the potential for high rental returns. With one of the most popular tourism markets in the world, owners have the option of renting out their properties to tourists when they are not using them. The high demand for vacation rentals, combined with the luxury status of most properties on the island, can generate significant vacational rental income. We have even seen a growing trend in medium and long-term rental demand aswell, both in season and the rest of the year. Anything that is a rental for less than a month’s stay is considered a vacation rental and a tourist license is required. Properties must meet certain requirements (which we will explain in the next section) and all those that have a current license are considered an extra value to their sale price.
Conclusion
Looking ahead to 2025, Ibiza’s property market presents a tantalizing opportunity for buyers looking for a luxury destination with strong growth potential. Valuation trends in Ibiza continue to indicate rising prices, in the midst of a limited supply with high demand, which has its origin mainly in a increasingly diversified range of nationalities, a history of safe haven and an evolution of balance and sustainable growth. Without a doubt, Ibiza will continue to stand out as an object of desire for those looking to take part in one of the most sought-after places in the Mediterranean.
Vacation Rental License
A lucrative option is to offer your property as a tourist or vacation rental, ranging from a minimum stay of 3 days to a month. With the increasing popularity of short-term rentals, it is crucial to obtain a tourist rental license to ensure that you operate within the regulations set by local authorities.
For years, local authorities have been under pressure due to the problem of the lack and rising prices of housing on the island, therefore they have had to increasingly restrict vacation rentals, which is seen as one of the main causes of the problem and pursue with more means activities of this type that do so without a license. Only advertising properties that operate without a license on tourist offer channels can result in heavy fines and penalties.
A number of properties for sale already have licenses and are of two types: ET and ETV. ET licenses generally allow short-term rentals (up to three months per year), have less strict requirements, and owners can manage their rentals independently or through an agency. ETV licenses, on the other hand, allow for longer rental periods or year-round operations, require stricter regulations, professional management, and often require the property to meet higher standards, including environmental and accessibility commitments.
The following prerequisites must be met to obtain a tourist or holiday rental license in Ibiza:
1. Only independent properties can request them, that is, neither townhouses nor apartments can apply.
2. The property must have a valid certificate of occupancy (occupancy certificate) and must meet certain safety standards outlined by local authorities.
3. The property must be located within a designated tourist area.
4. The Property must not have previously violated vacation rental licensing laws.
5. The property must be at least five years old and have previously been used as a private residence.
6. The property must possess a relevant active energy certificate.
7. Note that inspections will be carried out at a later stage. Any inaccuracies or omissions found during these inspections may result in cancellation of registration and immediate suspension of vacation rental activity.
8. The next change in the Island Territorial Plan (PTI) restricts the number of eligible homes to only 1,000 on the entire island. From then on, only homes built before 1956 that meet specific conditions will qualify. The Plan also mentions the implementation of increased inspections and stricter penalties for renting without a license.
With all this, it is evident that having a valid tourist rental license has a substantial value that must be taken into account, since it allows the property to access the increasingly exclusive vacation rental market in Ibiza; a market that today is considered “luxury” by default and this is well reflected if a price comparison is made, for example, with other similar islands such as Mallorca or Menorca.
A5. Why go with an agent
Why is it a good idea to go with an estate agent in Ibiza?
The property market in Ibiza can often be a challenge without the guidance of a professional. In this section, we will explore the advantages of hiring the services of a competent real estate agent in Ibiza.
Extensive knowledge of the local market
The most obvious reason is that navigating the property market in Ibiza requires a deep understanding of its complexities and trends. A competent real estate agent has extensive knowledge of the local market that goes beyond what can be found through simple online research.
The real professionals in this sector are well versed in the different neighborhoods and areas of the island and can provide valuable information about the characteristics and suitability of each area based on your preferences. They understand which neighborhoods offer proximity to services and infrastructure tailored to their needs and lifestyle. Additionally, they stay up to date with developments that could affect property values and investment potential.
Expert negotiation skills
When it comes to buying property, negotiation skills are vital to getting the best deal. A skilled real estate agent has negotiation skills honed through years of experience in the industry. Understanding the local market dynamics gives them a comprehensive knowledge of property values, allowing them to negotiate on your behalf effectively.
Access to exclusive off-market properties
One of the important benefits of working with a well-established and reputable agent in Ibiza is that you often gain access to exclusive off-market properties. These are properties that are not openly posted online or advertised to the general public. Instead, they are discreetly offered to trusted agents who have established relationships within the local market.
By choosing an experienced and well-connected professional, you open yourself up to a world of hidden gems that would not otherwise be accessible. These off-market properties can often provide unique opportunities.
Access to trusted professionals
Buying property involves several additional services beyond simply finding the right home. These can include legal assistance, mortgage advice, property inspections and more. A professional real estate agent has a wide network of trusted professionals within their sphere of influence.
By utilizing their network, they can connect you with renowned lawyers, mortgage brokers, architects, contractors and other experts who specialize in serving clients within the Ibiza property market. This access to trusted professionals streamlines the property purchasing process and ensures that every aspect is diligently handled by qualified individuals.
Guidance throughout the entire process
Buying property is not simply a transaction; It is a complex process that requires careful attention to details. An experienced real estate agent will be your trusted guide throughout this journey, supporting you at every stage.
From understanding your specific requirements and conducting customized property searches to arranging viewings, negotiating offers, overseeing due diligence processes, and facilitating a smooth closing process, an experienced agent will be by your side from start to finish.
Understanding building regulations in Ibiza
Before thinking of renovating, modifying or extending your newly acquired property in Ibiza, it is important to understand local building regulations. These regulations exist to ensure structural integrity, safety and aesthetic continuity within the island’s unique environment. An agent with deep knowledge of local laws can guide you in advance through the rules and restrictions that could affect your renovation or expansion plans. This experience can prevent complications down the road and ensure your projects align with local standards and requirements, saving you time, money, and potential legal issues. This understanding of Ibiza building regulations is another invaluable asset of working with local experts in your property buying process.
In conclusion, working with a real estate agent is essential when looking for the house of your dreams in Ibiza. Their access to exclusive off-market properties, extensive knowledge of the local market, expert negotiation skills, network of trusted professionals, and guidance throughout the process are invaluable assets that can save you time, money, and unnecessary stress. When choosing a real estate agent in Ibiza, make sure you opt for a reputable professional who understands the complexities
B. THE SEARCH PROCESS
B1. Portals
What role do real estate portals play in Ibiza?
In general, property portals offer a wide range of properties and can be a useful resource for anyone looking to buy a property in Ibiza. However, it is important to note that not all properties are listed on these platforms, so it is always a good idea to work with a local agent who has access to a wider variety of properties and can provide personalized assistance during the purchasing process.
Make sure you take advantage of all the options available to find properties on the market. The agent you choose should have access to all types of properties for sale on the island, including those that are not published (also called “offmarket”).
It is recommended that you yourself visit the real estate portals to have an overview of the market. You can even ask your trusted agent to arrange a visit to properties you don’t have listed, for privacy reasons.
There are several real estate portals that are widely used for Ibiza, both by local and international buyers looking for properties on the island. However, the portals where you will find more properties in Ibiza right now in 2024 are the following two:
Due to its good positioning in Germany, it is also worth considering ImmoScout24 [Link >Ibiza]
B2. Know what you want
What type of house best suits your needs?
When you are about to start looking for a new home, it is important to take a moment and consider what type of property would be best suited for your needs and preferences. Additionally, you should jointly evaluate how much you can realistically afford in terms of a home, as well as how much financing you can obtain.
We all have a different idea of what constitutes the perfect property. To help us to make your wish list, write down your likes and dislikes, then pass this information on to your agent after your first visit. This information will be useful for both of you.
You can, for example, take notes in a notebook or your device with all the details that come to mind. You can create a “must have” list and a “nice to have” (non-essential) list to clarify priorities, or if you have questions about how to do it, simply ask for our notes. An example of common priorities would be:
Property type: Apartment, semi-detached house, independent house, etc.
Size: House and Land
Location: Area, neighborhood, surroundings, etc.
Views: Sea, countryside, mountains, height, etc.
Distance to all amenities and services
Distance to town or city: usually Ibiza City
Minimum number of bedrooms and bathrooms
Distribution: open-plan interiors or independence of rooms
Architectural style: modern, estate, classic, minimalist, etc.
Kitchen separate from the dining room
Private garden, land for orchard or fruit trees
Piscina, privada o comunitaria, etc.
Guest or employee house
This is a general list, but there are some requirements that are more personal, such as:
– Are you worried about interior space?
– Is gardening one of your hobbies?
– Do you need separate guest house due to your family’s needs?
Another option is to remodel an existing property, whether to take advantage of the opportunity of a lower price, invest in its potential or simply to modify it to your liking. However, it is crucial to consider the substantial amount of time, effort and money required for this transformation. We recommend carefully planning the expenses associated with renovating a property in Ibiza from the beginning and studying the case with a legal advisor. A competent and experienced real estate agent can give you an initial estimate of the remodeling costs, the legal status of the house and whether there is the possibility of expanding or even modifying anything. In any case, once you have identified a property of interest and it is certain that licenses can be obtained, it is recommended that the buyer visit the property with a builder to obtain a more accurate estimate.
Whenever questions arise, simply ask us, without obligation. We understand the importance of local knowledge when it comes to finding the right place to live. Whether it’s weather, traffic conditions, or amenities, we have the experience to guide you in your search for the perfect home. If you come across something you haven’t seen during visits with us, don’t hesitate to ask. Even if you are exploring on your own, we may be able to help you obtain the needed information.
And if you’re struggling to find a property that ticks all the boxes on your list, ask about our design and build service as we can also help you find the ideal land to build on.
The individual nature of the homes on the island makes accurate valuation an inexact science. Quoted prices are often the owner’s aspiration, rather than based on a proper evaluation of sales data. However, properties in Ibiza are generally worth what someone is willing to pay for them, so be prepared to negotiate.
B3. The areas of Ibiza
What distinguishes the different areas of Ibiza?
The island is divided into five municipalities, each with its own unique characteristics. In fact, it is common to hear among people who know Ibiza that each area is like a microcosm within a small island. However, the fact that Ibiza is quite mountainous expands the feeling of its real size.
With the following descriptions we want to describe a little the “character” of each subarea to give a good idea beforehand. That being said, we want to clarify that many of the zones are not mutually exclusive. We have observed that buyers have started looking in a very specific area and after a while have changed their preferences to another area on the other side of the island. Ibiza has many charming places and initial preferences are never final.
It is recommended to do your research and choose the most attractive locations yourself before viewing properties. Here is a brief summary of each municipality and some subzones, to further help you choose your preferred locations:
1. San Jose (Southwest / West / Northwest)
Sant Josep de Sa Talaia (its official name) covers the entire west of the island and is perhaps the most varied municipality, meaning that the culture, community and lifestyle vary greatly depending on the area. The territory of the municipality is mostly mountainous, and, therefore, offers spectacular landscapes and beautiful coasts, with beaches and cliffs with panoramic views.
The municipality also exhibits a diverse culture and style, ranging from authentic charm, a rich historical heritage, to popular party destinations frequented by high-profile celebrities like the beach of Playa den Bossa. Some notable beaches in the area include the natural park of Ses Salines and Es Cavallet, Cala Tarida, Cala Vadella, Cala Jondal, Cala Conta and Cala Bassa, and another notable natural park in Cala d’Hort, where the geological monument of the Es Vedrà islet is located. In addition, the region is made up of four charming villages: Sant Josep, Sant Jordi, Sant Agustí and Es Cubells.
Buyers interested in purchasing a property in San Jose often classify their preferences into three distinct sub-areas: The interior (The villages of Sant Josep, Sant Agustí or Benimussa), the west (Cala Tarida, Cala Molí, Cala Conta or Cala Vadella) or the south (Ses Salines, Cala Jondal, Es Cubells). There are also five gated communities, arranged here according to their size: Vista Alegre (Es Cubells), Cala Conta 33 (Cala Comte), Parques Cubells (Es Cubells), Sabina Estates (Cala Tarida) and White Angel (Cala Comte).
Properties in the south of San Jose tend to attract buyers looking for more modern villas close to Ibiza Town, popular beaches and popular spots. However, the west coast of San Jose, the small villages and their fincas are usually more sought after by families. Es Cubells and Porroig have been known for decades as being among the most high end areas of the island, and the coast between Cala Tarida and Cala Comte has become a high end area in recent years. If sunset views are a priority, you should consider the west coast from Cala d’Hort north to San Antonio Bay and the surrounding area towards north.
2. Santa Eulalia (Southeast / East / Northeast)
Located on the east coast and in the center of the island, the municipality of Santa Eulària des Riu, by its official name, is known for being the favorite of family tourism and couples looking for tranquility on their vacations. It stands out for its beautiful beaches, a very picturesque countryside and a great gastronomic variety. Although these are qualities that also appear in other municipalities on the island, the main difference that makes Santa Eulalia stand out is that for decades it has followed a policy in contrast to partying, nightclubs and mass tourism, which has resulted in a type of public that provides a particular atmosphere of tranquility and relaxation.
Santa Eulalia consists of a small town (or a large village) that bears the same name, with a marina and atmosphere throughout the year, and three more villages with a lot of charm and a great gastronomic variety: Santa Gertrudis, Sant Carles and Jesus. Santa Eulalia also offers historical heritage, such as Puig de Misa and the village churches, and alternative culture, such as the two hippie markets on the island: Las Dalias and Es Canar. The most notable beaches in the municipality are Aigües Blanques, Es Figueral, Cala Nova and several coves on the picturesque northeast coast, from the town of Santa Eulalia to Es Canar.
The municipality is culturally diverse and attracts local and international residents. Lifestyle in Santa Eulalia offers opportunities for families, couples and high profile tastes. Buyers interested in purchasing a property in Santa Eularia often classify their preferences into five distinct sub-areas: Santa Eulalia Town (and Siesta), northeast coast (Sargamassa, Cala Martina, Cala Llenya, Es Canar), east coast (Cala Llonga, Roca Llisa), the interior (Santa Gertrudis, Sant Carles, Morna Valley) and proximity to Ibiza Town (Jesus, Talamanca, Can Pep Simó, Cap Martinet, Can Furnet). There are also five gated communities, listed here according to their size: Roca Llisa (east coast), Can Furnet (Jesus), Can Rimbau (Jesus), Es Pouet (Talamanca) and White Angel (Talamanca).
The type of buyer who is interested in properties in the interior of the municipality usually comes from a special enthusiasm for the character of the island’s iconic countryside, its tranquility, and additionally the proximity to the unique beaches, the hippie culture, the gastronomic offer or simply being away from the hustle and bustle of the other side of Ibiza. This type of buyer is not usually limited to the interior of Santa Eulalia only, but also considers the municipality of Sant Joan, since it is geographically close and shares many of the characteristics in the rural and bohemian atmosphere of Ibiza. A second group searches for proximity or direct views of the sea, and in turn searches in areas near the coast and in an environment with neighbors, which includes Santa Eulalia town, Siesta, Cala Llonga (east coast), Cala Llenya (northeast coast) and the urbanization of Roca Llisa. There is a third profile that also looks for the coast, but does not look for neighbors but for privacy and a larger plot of land, in which case it will prefer sub-areas such as the northeast coast and some parts of the east coast. Finally, there is another type of buyer who has a preference for proximity to Ibiza City and will look in areas such as Jesús, Talamanca or the developments of Can Furnet and Can Rimbau.
3. San Juan (North / Northeast)
The municipality of Sant Joan de Labritja, by its official name, is located in the northernmost part of the island and is the least populated municipality by far. Its extensive mountain ranges, agricultural valleys, extensive forests and small towns together show a municipality with a rustic character, wild nature and a varied coast between cliffs, hidden coves and few larger beaches. In San Juan, visitors will find nature excursions, impressive landscapes and panoramic views, both inland and on the coast.
The municipality’s culture and lifestyle attracts both locals and an international audience, often associated with a relaxed, bohemian atmosphere that feels like a world of its own, separate from the rest of the island. San Juan has four traditional towns (San Miguel, San Vicente, San Lorenzo and San Juan) and an urbanized and tourist area in Portinatx.
Buyers interested in a property in San Juan often classify their preferences into four distinct sub-areas: The interior of the island (San Lorenzo, San Miguel, San Juan and surrounding areas), the northern coast (Puerto de San Miguel, Benirrás, Portinatx), the mountains of Morna and San Vicente. There is no gated community in the municipality of San Juan, the most similar would perhaps be the neighborhoods of Portinatx and Cala San Vicente.
The type of buyer who is interested in properties in the interior of the municipality of San Juan is similar to the character of the interior of the municipality of Santa Eulalia; perhaps with the difference that the distance to an urban center matters less to them. In the case of interest in the northern coast, it is probably a preference for panoramic sea views, as occurs in Na Xamena, with cliffs more than 100m high and that mark the character of almost the entire stretch of the north coast. The mountains of Morna, San Vicente and Cala San Vicente, are the most isolated and least developed areas of the entire island, therefore they attract a type of people who enjoy tranquility, wild nature and do not need proximity to the urban center but more the opposite of that.
4. San Antonio (North/Northwest)
The municipality of Sant Antoni de Portmany is famous for its sunsets, its beaches, its vibrant nightlife and the great influx of tourism. The beauty that permeated the region was captivating and was highly sought after by the first tourists in the 1960s. However, the lack of conscious regulation in the 60s/70s reveals a certain overexploitation and malpractice in its urban development. Along almost the entire stretch of coast there are buildings from a time when occupation was rewarded rather than avoiding the visual impact on the natural environment. However, when you move a little away from the city, you will find very charming places, coves, mountains and the most charming rustic areas of the island.
The culture and lifestyle of the municipality shows a contrast between the bay and everything outside of it. For at least five decades, the urban area and the bay of San Antonio have been oriented towards mass tourism, mainly young and low-budget, attracted by partying and fun. However, in this last decade, San Antonio has suffered an identity crisis: while large hotels and tour operators continued to base their business model on the previous standard, initiatives have emerged from municipal politics and some businessmen to take another course, to elevate the level and nature of tourism. Although it cannot be said that they have yet been completely successful in their initiative, green shoots of change are beginning to be seen thanks to certain public works, new gastronomic and hotel offers by mainly young entrepreneurs, attracted by the lower land prices of the island.
As for the rest of the territory outside the bay, the character tends to be almost the opposite, with some of the enclaves being the quietest, most isolated and most rural in all of Ibiza. Sant Antoni de Portmany has three traditional towns with a lot of charm: Santa Inés, San Mateo and San Rafael.
Buyers interested in a property in San Antonio often classify their preferences into three distinct sub-areas: The coast north of San Antonio (Can Germà, Cala Salada and Punta Galera, all with direct access to the sunsets and the sea), the mountains of the north coast (the stretch of coast that goes from the north of San Antonio to Santa Inés) and the entire interior of the municipality (all the rural areas of Santa Inés, San Mateo and San Rafael). There is no gated community in the municipality of San Antonio, the most similar would perhaps be the neighborhoods of Can Germà and Punta Galera, both in the same area.
The type of buyer who is interested in coastal properties north of San Antonio has a predilection for ocean views, sunsets and proximity to the city. This is followed by the mountains of the north coast to Santa Inés, which is proposed for a client profile looking for isolated villas, with a lot of land, a private road, privacy and, in most cases, spectacular views. Regarding the interior of the municipality, it can be said that it is the same profile as in the two previous municipalities, with a special attraction for the rustic atmosphere of Ibiza. Perhaps it is worth mentioning that these properties, as they get closer to San Antonio, have a tendency to be cheaper than in rural areas like Santa Eulalia, but it will always depend on many other factors, such as tranquility and proximity to a highway with traffic, for example.
5. Ibiza Town – Eivissa (South)
Eivissa, by its official name, does not seem like a large city by population (around 80,000 inhabitants throughout the year), but without a doubt it is a vibrant city and that is becoming increasingly more so. Over the decades it has attracted a more cosmopolitan group of people that has come to stay all year round, opening local businesses and enriching the place even outside of the high season. It is a dynamic city, but at the same time offers the tranquility of a small town in certain areas, especially in the old town, the citadel of Dalt Vila.
The old town, which is divided into Dalt Vila, the large walled citadel, designated as a UNESCO World Heritage Site, and the vibrant old port. The latest public developments there and on Passeig de Vara de Rey have created a mainly pedestrian center and have undoubtedly beautified the entire place. In addition to its rich cultural heritage, Ibiza has two popular beaches, Talamanca and Figueretas within walking distance of the center. A little further along the stretch of coast is the Paseo Maritimo, with an ample long reaching promenade, famous for its collection of luxurious apartments, the marinas and the nightlife of clubs and high-end gastronomic offerings.
The profile that is interested in Ibiza Town undoubtedly seeks the urban environment and is mainly differentiated by an interest in the charm of the old town or, on the other hand, by the modern and luxurious Paseo Maritimo, which also offers proximity to the beach of Talamanca, the marinas and the frontal views of Dalt Vila. Within the old town, there is an audience that specifically seeks to live within the citadel of Dalt Vila and another that seeks it outside, such as the port or the center. It can be said that the port of Ibiza has its own character due to its particular atmosphere.
B4. Get most out of your viewings
Viewing properties is an exciting experience, but it is also an important decision that must be approached with care and attention to detail. Here are some tips on how to make the most of viewing a home to buy:
1. Prepare in advance: Before visiting a property, be sure to do your research and prepare a list of questions to ask your real estate agent or the seller, if he/she is present during the visit. Additionally, you should have a clear idea of your budget, so you can focus on properties that meet your needs.
2. Take your time: When viewing a property, take your time and explore every room and corner. Try to imagine yourself living in that space and think about how it would fit into your lifestyle. If possible, visit the property more than once at different times of the day to get a better idea of the lighting, noise level, and surrounding area.
Asking questions is easier when you are there and if you need an explanation, you can see it while you are there. Don’t be afraid to ask.
Some examples of questions that are usually asked of the owner or his representative:
-Reason for sale: Ask why the current owners are selling the property. Understanding their motivations can provide useful context.
-The property’s history: Find out about any renovations, repairs or updates made to the property. Knowing when they were completed can give you an idea of possible future maintenance requirements.
-Area information: ask about community services, distance to shopping areas, schools, beaches and other options that may interest you. Gathering information about the area will help you imagine what it would be like to live there.
3. Look beyond the decor: Try to look beyond the decor and furnishings of the property. Instead, focus on the basics of the property, such as layout, natural light, and overall condition.
Some more specific examples:
-Good air circulation is essential to maintain a pleasant living environment.
-Look for potential problems, such as leaks, cracks or moisture, and ask the seller or agent about any renovations and/or repairs that have been made to the property. Ceiling cracks or wet spots could mean a problem that needs to be resolved or it could simply be condensation or poor decorating, both of which can be easily remedied.
-Consider whether the kitchen layout suits your culinary needs. Kitchens and bathrooms are often the most expensive to renovate, so take the time to look them over carefully.
-You can also check the exterior of the house by walking around the building and the boundary walls. Find out where the sun rises and sets. If the yard has a pool or spa, check the pumps/plumbing.
-Outdoor seating areas can expand your living space and provide a quiet place to enjoy the fresh air, especially in favorable climates like Ibiza. If the property has a patio or garden, evaluate its size and maintenance requirements. Consider whether it suits your lifestyle or gardening ambitions.
4. Explore the surrounding area: be sure to explore the surrounding area, including the neighbourhood, amenities and transport links. Think about how the location would fit your lifestyle and consider factors such as commute times, school districts, and local attractions.
5. Take notes: During the visit, take notes and, if the property allows, photographs so you can refer to them later. This can help you compare properties and make an informed decision.
At the end of your visits we will list the properties seen along with their details and price. Its very useful to letting us know what you like and don’t like or if you’ve re-evaluated your original requirements. It will help us evaluate your tastes more precisely, which will allow us to offer you a product that is more tailored to your preferences. There may be other houses or apartments within our portfolio that better suit your needs and we will inform you of new interesting products that enter the market.
By considering factors such as location, structural integrity, natural lighting, storage space, outdoor areas, and asking relevant questions during viewings, you will be well equipped to make an informed decision when purchasing. Remember that each property is unique – finding one that fits your needs and preferences may take time, but it is worth the effort.
B5. Negotiation
Once you have identified a property you are interested in, the following steps follow:
Make an Offer
Your agent will help you decide how much money you want to offer for the home, along with any terms you want to request. Your agent will then present the offer to the seller; the seller will accept his offer or issue a counteroffer. Then you can accept or continue going back and forth until you reach an agreement or decide to leave it.
Also, think ahead: It’s easy to get ambushed by higher or unexpected utility costs, property taxes, or neighborhood association fees… You can request the last 12 months of water and energy bills to have an idea of the average monthly or annual disbursement.
If you reach an agreement, the parties will sign a pre-contract with a deposit, usually 10% of the agreed price.
Home Inspection & Legal Checks
At this stage of the transaction, whether you are in the middle of the negotiation process or if the seller has communicated acceptance of your offer, you can make certain checks before moving on to the next step (which is usually signing a pre-agreement or reservation contract).
Get a home inspection
If you wish, you can request a home inspection by an engineer, architect or builder. Even if the home you plan to purchase appears to be immaculate, it is recommendable to have a trained professional inspect your potential new home for quality, safety and overall condition. If the home inspection reveals serious defects that the seller did not disclose, you will generally be able to rescind your offer and get your deposit back or negotiate for the seller to make repairs or discount the sales price are other options if you find yourself in this situation.
Essential legal checks before buying a house:
To protect your investment and ensure a smooth transition to home ownership, it is essential to carry out thorough legal checks before signing on the dotted line. This is where a lawyer or a gestoria is helpful.
Your lawyer is usually cheking the following:
-Verification of property title: review of the title of the property to confirm that the seller actually has the right to sell the property and that there are no mortgages or liens outstanding against it.
-Check building permits and licenses: evaluation of all building permits and approvals to see if all existing structures on the property have been made in compliance with local building codes and regulations. This includes renovations, additions or any other modifications made to the house. This step can save you from potential legal problems or costly repairs in the future.
-Zoning restrictions: zoning laws regulate how land can be used within a particular area, such as residential, commercial, or mixed-use. The zoning regulations for your desired property will be researched to ensure they fit your intended use. For example, if you plan to establish a home-based business or build an additional structure on the premises. Consulting with local planning authorities or zoning experts can provide clarity on any potential limitations or future development possibilities.
-Check the rules and regulations of the Homeowners Association: in the case of purchasing a property within a planned community or a condominium complex (neighborhood community or gated community), governed by a homeowners association, be familiar with its rules and regulations, through which specific guidelines are imposed that the Residents must comply with regards to property maintenance, exterior modifications, noise restrictions and more. Additionally, the bylaws will be reviewed to inform you about your expectations and ensure they align with your lifestyle preferences. Additionally, knowing any associated fees or assessments required will avoid unexpected financial obligations after moving into your new home.
Close or move on
At this stage of the home buying process, you’re ready to decide if this is the place for you or if it’s time to move on and look at other homes.
If you can reach an agreement with the seller and the inspection did not reveal any major problems, you should be ready to close the deal. Closing basically involves signing a variety of documents in a very short period of time and hoping that nothing falls through at the last minute.
The following you will need to deal with and pay for in the final stages of your purchase may include having the home appraised if you need a mortgage (bank’s require this and instruct their own appraisal firms).
C. THE BUYING PROCESS
Once the ideal property in Ibiza has been chosen, how is the purchase process carried out?
The process of buying a property can be basically divided into three phases: reservation contract or pre-agreement, due diligence and finally the deed of sale.
C1. Standby and pre-settlement contracts
The phases and contracts of the process of buying a property in Ibiza
Once you have decided on a property and have reached a pre-agreement on price and conditions with the seller, the buying process begins.
Basically, in a nutshell, it is about reserving the property for a period of time so that the buyer can do due diligence (check that everything is in order) in exchange for some guarantees for both parties.
* Before making a pre-agreement or reservation, it is essential to see the simple note (in Sp.: nota simple) of the property, since the most relevant information is described there: owner, characteristics, dimensions and encumbrances. Even so, due diligence allows to go deeper and confirm that the information in the simple note is 100% correct, as it is not always up to date and/or omits details that may be important, as we will see below.
Earnest money contract and private purchase contract
The first contract you are likely to encounter as part of the process of buying your property is some form of earnest money contract or private purchase contract, backed by a deposit or legal liabilities or both.
In other words, this contract serves as a contractual agreement between the buyer and seller to reserve the property exclusively for a specific period in order to do due diligence, to check that everything is in order as agreed between both parties, before taking the final step which is the title deed, i.e. the final transfer of the property.
The main objective of this contract is to assure both parties that the process of the purchase and sale is started in a serious way, with legal or economic assurances that both parties would have the right to claim in case of non-compliance with what has been agreed.
The earnest money contract normally requires the payment of a deposit by the buyer (usually 10% of the total purchase amount) to secure his interest in the property. This amount can be transferred to the seller or an intermediate party, such as your lawyer or a notary, depending on how it is agreed between the two parties.
These contracts set out specific terms such as:
-Purchase Price: The price agreed to acquire the property.
-Payment terms: Details of deposits, payment schedules and penalties for late payments.
-Completion Date: The date set for completing the purchase and transferring the property.
-Property details: Full description, including size, location, amenities and associated rights or restrictions.
-Liabilities and Warranties: Clauses specifying liabilities, existing debts and warranties on the condition of the property.
-Provisions for non-compliance: Consequences of non-compliance, including financial penalties and dispute resolution mechanisms.
-Other agreements: Any additional conditions agreed between buyer and seller.
* Make sure all terms are clearly defined to avoid misunderstandings or future disputes.
There are two main types of reservation contract:
1.1 Private purchase contract
You can choose to sign a private purchase contract (PPC) directly, where the seller agrees to deliver the property and the buyer agrees to pay a certain price for it. The buyer can pay the seller an agreed amount after signing this contract, usually 10%, as a down payment, good faith deposit or guarantee.
Once the agreement is signed, both parties are obliged to honour it on the agreed terms and conditions. Breach by either party entitles the other to demand performance of the contract or its unilateral termination, with the right to damages.
1.2 Deposit contract / purchase option
The most common private contract with payment of a deposit is known as a ‘deposit contract‘ or ‘purchase option contract‘. In this, a partial amount (usually 10%) is given as a deposit. The terms of the contract state that if the buyer withdraws, the seller may retain the deposit. However, if the seller withdraws, the buyer is entitled to receive double the deposit paid.
The main difference with the private purchase contract is that the deposit contract or purchase option gives comparatively more freedom to both parties, as there is the possibility to withdraw from the purchase with a financial penalty but without legal consequences. It can be said to be a more “flexible” binding contract for both parties.
C2. Due diligence
What is due diligence and what is it for?
After signing the pre-agreement, it is time to make the necessary checks. It is necessary to verify that what the seller says coincides with reality, both in the legal situation of the house, the administrative or economic burdens, as well as in the conditions of the construction. These verifications can vary according to the priorities of each one.
The due diligence phase is fundamental and involves a thorough investigation of several key aspects related to the property, including a thorough legal review and a detailed assessment of its current status. While due diligence is not a contract in itself, it is an integral part of the purchase process that can help identify and mitigate any potential issues or risks associated with the subject property. By investing the necessary time and resources at this stage, buyers can make an informed decision with greater confidence, allowing them to avoid unpleasant surprises and ensure a smooth and successful transaction.
* Check the title deeds: If you have not already done so, now is the time for the seller to provide the buyer with a copy of the title deeds so that his lawyer can confirm the correct description of the property. The deeds contain details such as the amount of land, boundaries, built-up area, internal divisions, external areas and other highlights of the property.
For a proper due diligence, consider exploring:
2.1 Review the property documentation
What aspects of the property should be reviewed for due diligence?
Your lawyer will play a vital role at this stage by examining various legal documents relating to the property. These may include:
-Title deed: The title deed provides proof of ownership and contains essential information about the property, including its boundaries and any recorded restrictions or encumbrances.
-Land registry: Your lawyer will search the local land registry to verify that all necessary records are in order. This search helps to uncover potential problems or discrepancies relating to existing property rights or mortgages on the property.
-Cadastral registration: Unlike the land registry, the cadastre records the dimensions, location and classification of the property. It displays information such as maps, plans and some aerial photographs. For example, your lawyer may be able to identify if the cadastre shows discrepancies between the property documents and the deeds.
-Newly built properties: If the property has been built within the last five or six years, make sure that both the certificate of completion (certificado de final de obra) and the licence of first occupation (licencia de primera ocupación) have been obtained. These documents guarantee that the construction has been carried out legally and with all the corresponding permits.
-Urban properties: if it is an urban property, it is important to understand the urban planning regulations and zoning restrictions specific to your area, i.e. information should be consulted with the town planning department. Your lawyer should inspect the town council’s urban plan detailing what can and cannot be built around the property, and ensure that there are no future developments or road extensions planned that could affect your investment.
-Rural properties: If you are dealing with a rural property, it is essential that your lawyer carry out a thorough investigation of the different easements associated with this type of property. You should pay attention to such things as road easements, view easements, hunting rights, and even the right to draw water from private wells or streams that run through your property.
-Properties on the coast: If the property is less than 500 metres from the coast, it is necessary for your lawyer to verify that the property does not infringe the Coastal Law.
-Irregular extensions: There are frequent cases of irregular documentation on properties in Ibiza. Your real estate agent should inform you in advance about the legal situation of the property, but a lawyer is needed to help you confirm the situation before you buy. It is recommended to seek advice from a specialised lawyer or a gestoría.
2.2 Construction inspection
If you have not done so during the negotiation phase, now may be the time to carry out a building survey. Hiring a professional surveyor can provide valuable information about the physical condition of the property. Examples include inspecting the structure, plumbing, electrical systems and general condition of the building. This survey will help assess its structural integrity and highlight any existing defects or areas that require attention. This information can be crucial in identifying potential structural problems or needed repairs, allowing you to make an informed decision on the value of the property, future maintenance costs and negotiate final terms with the seller.
2.3 Financial evaluation
Conducting a financial check involves reviewing documentation related to expenses such as community fees, utility bills and local taxes associated with the property. It is essential to ensure that there are no outstanding debts or liabilities associated with the property before finalising the purchase.
Some important aspects to consider:
-Taxes paid: it is important to check that you are up to date with your municipal tax payments, such as Property Tax (IBI).
-Checking that the property is free of debts, charges and liens: this is crucial, as in Spain debts are held against the property, not the seller. This means that any liens or encumbrances on the property are transferred to the new owner.
-Check for tax retentions: your lawyer should check the background of the property, such as the number of owners in the last 4 years and whether any were non-resident. If there has been a change of non-resident ownership, you will need to check that the 5% withholding tax was paid to the authorities. If the property has not changed hands in the last 4 years and 1 month, there will be nothing to check.
-Advance succession planning: Property can be registered in different forms, such as in the name of a single person, a couple or joint purchasers, or a company. Before registering, it is important to consider the tax and inheritance consequences.
-Furniture: When the property is sold including furniture of any value, it is important to request a signed inventory detailing these items.
-Bills: It is advisable to verify that all utility bills are current. This includes water, gas, electricity and telephone. To do this, it is suggested to obtain copies of the most recent receipts provided by the seller.
2.4 Mortgage Contract
If you are financing the purchase of your property through a mortgage, you will need to sign a mortgage contract. This contract outlines the terms and conditions agreed between you and the bank providing the mortgage. Key aspects normally covered in this agreement include:
-Loan amount: the total amount being borrowed to finance the purchase of the property.
-Interest rate: The agreed interest rate for the loan, which determines the cost of the loan.
-Payment terms: details on payment schedules, instalment amounts and applicable penalties or fees.
-Insurance requirements: Specifics on the insurance coverage required by the lender to protect its investment.
-Default provisions: Consequences and actions that can be taken in the event of default or non-payment of the loan.
Be sure to carefully review all the terms of the mortgage contract to understand your financial obligations and rights as a borrower.
C3. The Deed of Sale
3.1 Signature at the notary
The Escritura de Compraventa, also known as Escritura Publica, is the final contract that officially transfers ownership from the seller to you as the buyer. In Spain, this contract is signed before a notary public and requires the presence of both parties (or their legal representatives) for its execution.
The key elements included in this deed are:
-Identification details of the buyer and seller
-Description of the property and registration information
-Confirmation of the purchase price
-Payment details, including any outstanding balance settled during the signing
-Statements by both parties of their legal capacity to enter into this transaction
Once signed, this contract is registered with the Spanish Land Registry, officially documenting your ownership of the property.
* Buying from a non-resident (3% withholding)
If you buy your Ibiza property from a person who is not a tax resident in Spain, you must withhold 3% of the purchase price and pay it to the Spanish Tax Agency within 30 days of the transaction. The payment, a kind of deposit, is a “guarantee” against the seller’s attempt to avoid paying capital gains and other taxes. As long as you pay it to the Hacienda within 30 days, the capital gains tax (CGT) cannot be reclaimed from you even if the seller’s debt is more than the 3% withheld.
If you, as the buyer, do not withhold and pay the 3%, you will have to pay capital gains tax on the sale and could be fined.
A resident must have a certificate proving tax residency in Spain. Check with your gestoría or lawyer whether you are buying from a resident or not. Most of the time your gestoría will check this before the notary appointment and inform you of this.
3.2 Procedures after the signing of the title deed
After the signing of the public deed before the notary, the acquisition of the property by the buyer becomes official. There are now certain post-writing steps to be taken in order to anchor everything, which are as follows:
1. Change of ownership in the Land Registry
After the signing, the notary will immediately send an electronic copy to register the deed in the Land Registry in the name of the buyer. The land registry will open a filing entry that is valid for 60 days. This obliges the buyer (through a gestoría, for convenience) to register the property in his name, with the same encumbrances existing at the time of signing.
2. Pay the taxes
In the case of the purchase of a second-hand property, the buyer must pay the Transfer Tax (ITP). On the other hand, in the case of the purchase of a newly constructed plot of land or building, the buyer will have to pay Value Added Tax (VAT) as well as Stamp Duty (Impuesto sobre Actos Jurídicos Documentados). Both are explained in the first section of the guide.
3. Notifying the town hall
The buyer must notify the town hall of the transfer of the property by presenting a copy of the title deed (normally this is done at the notary’s office, electronically) and, *if the property is on urban land, the capital gains tax must be paid. This is a relatively very low tax that must be paid by the seller, but in case of non-payment the debt remains with the property. Here the buyer only has to bear in mind that either the seller presents a receipt that this tax has been paid, or, alternatively, a reduction is applied to the sale price to compensate for this amount and is paid by the buyer.
Final steps after acquiring the property
Once the tax and registration payments for the property have been settled, it is beneficial to carry out a few simple final steps:
• Register the property’s utilities or change them to your name: electricity, water, gas, telephone, internet. If it is a newly-built property, make sure that when the keys are handed over, you also receive the bills for contracting electricity, water and gas.
• Keep copies of the deeds and mortgage, it is important that these documents are always at your disposal and in a safe place.
• Keep all the documents, invoices and guarantee receipts that have to do with the purchase, as they may be needed if you decide to sell the property.
• Present yourself to the president or administrator of the community so that they can identify you as the new owner.
• You can check the ownership in the land registry, by means of a letter confirming the change.
D. AFTER ACQUIRING THE PROPERTY
What to consider after buying a property in Ibiza?
If you are a first time buyer, you will be interested to know some of the responsibilities that come with a property in Ibiza. To finish this guide in a complete way, we will explain the most essential aspects to take into account after buying a house in Ibiza.
D1. Property taxes and costs
What taxes and expenses are there when owning a property in Ibiza?
While owning a piece of this beautiful island brings a good deal of joy and excitement, it is important to understand the financial obligations. This article looks at the taxes associated with owning property in Ibiza, both for residents and non-residents. A thorough understanding of these taxes will enable you to deal with your financial responsibilities diligently.
Annual costs
1. Annual Property Tax (IBI)
The Property Tax (IBI – Impuesto de Bienes Inmuebles) is a tax that affects all property owners, regardless of whether they are residents or non-residents. In order to calculate this tax, the cadastral value of the property is used as the taxable base, which is determined by the town hall of the corresponding municipality. It is important to note that this cadastral value is generally significantly lower than the real market value of the property.
The IBI rate varies between 0.3% and 1.1% of the cadastral value. This variation depends on two main factors: first, whether the property is located on rural or urban land, and second, the municipality in which it is located. Each municipality has the power to set its own rates within this range, which explains the differences that may exist between different localities.
2. Wealth tax
If you own real estate in Spain, whether you are a resident or non-resident, you may also be subject to Wealth Tax.
Spanish tax legislation is very regionalised, so wealth tax rates vary from one autonomous community to another.
* As the tax situation is constantly changing, we recommend that you consult a tax advisor or lawyer to get all the information at first hand.
3. Non-Residents Income Tax
If you are a non-resident property owner in Ibiza and you generate rental income from your property, you will also need to consider Non-Resident Income Tax (IRNR). This tax applies to rental income earned by non-residents in Spain.
The tax rate applicable to non-residents is usually 19% of the net rental income received. However, it is essential to bear in mind that this rate may vary depending on the double taxation agreements between Spain and your country of residence.
4. Community fees
If your property is part of a community or residential complex with shared amenities or services, such as a swimming pool or security, you may have to pay monthly or annual community fees. These fees contribute to the maintenance and upkeep of the common areas.
D2. Typical maintenance costs
What kind of maintenance costs are to be expected in Ibiza?
Owning a property in Ibiza comes with ongoing maintenance costs that are important to consider. While these costs can vary depending on the size and condition of your property, here are some common expenses to anticipate:
Property insurance
Protecting your investment is crucial, so it is recommended that you have property insurance to cover possible damage caused by natural disasters, theft or accidents. The cost of insurance will depend on factors such as the value of your property and its location.
Utilities
Don’t forget to budget for utilities such as electricity, water and gas. It is advisable to set up automatic payment plans for these services to ensure timely payments.
Maintenance and Repairs
Regular maintenance is essential to keep your property in good condition. This includes routine tasks such as cleaning, gardening and pest control. In addition, unexpected repairs may arise from time to time, so it is advisable to have a contingency fund for such situations.
Property management fees
If you do not live in Ibiza on a permanent basis or prefer not to take care of the day-to-day management of your property yourself, you might consider hiring a property management company. Their services may include key holding, rental management (if applicable), regular inspections and arranging any necessary repairs. Please note that there is a cost for these services.
To conclude, buying a property is a crucial step that requires a clear definition of personal needs and priorities. This will allow you to effectively filter the options available in the Ibiza property market. It is useful to thoroughly research the market, know the current prices and the various factors that influence the value of properties. Visiting and carefully examining each option is essential in order to make a decision. In addition, financing alternatives should be explored and a realistic and well-defined budget should be maintained. Having the advice of industry experts can also make a difference and greatly increase the chances of finding the ideal property.
Buying a home represents a major investment and a significant step. With careful planning and the right support, your chances of success will be greatly increased. At Kelosa, we are here to answer any questions you may have, and we hope this guide has been helpful.
Elmyr de Hory is considered by many to be the most talented and successful art forger in the world. Striving for a career as an artist, with some misfortune, he realized along the way that he had an exceptional gift for imitating the styles of the great modernist masters. However, these forgeries, which passed unnoticed for decades by many art experts, were just one more branch of a mysterious existence steeped in deception.
Early life.
After contrasting the information with research and testimonies, today it is known that Elmyr was born in 1906, as Elemér Hoffmann in Budapest, Hungary. He began his formal art training at theNagybánya Artist’s Colonyat the age of 16, and continued at the Akademie Heinmann art school in Munich. In 1926 he moved to Paris and enrolled at the Académie la Grande Chaumière, where he studied with Fernand Léger.
As for his family, Elmyr always said that his father was a Catholic christian and a diplomat, belonging to the aristocracy; but the Budapest registry list him as a Jewish handicraft merchant. He also said that the Nazis murdered his family, but according to the testimony of Mark Forgy, his personal assistant-apprentice for more than a decade in Ibiza, Elmyr was visited several times by an alleged cousin of his, who in the end turned out to be his brother. The fact that he was persecuted by Nazism, being Jewish and homosexual, was possibly the catalyst for creating false identities, and perhaps finds its origin in the need to take care of his image and obscure his trail to save his life. In any case, what is supposed to be known about his identity may still be open to another “plot twist” in the future.
Elmyr De Hory tended to create his alter ego of an aristocratic origin, who had been through recent episodes of misfortune and felt compelled to sell his possessions to finance his high standard of living. According to Elmyr, the portrait he owned of him and his brother was made by the famous Hungarian portraitist Philip de László. However, when in 2010 Mark Forgy, as the sole heir to all of Elmyr’s paintings, exhibited this same portrait the De László Trust declared that the work was certainly not painted by the esteemed portraitist, but simply another of Elmyr’s forgeries. The fact that De Hory forged a double childhood portrait of himself and his brother in sailor suits (a brother who, according to him, was no longer alive …), signed on behalf of an artist who at that time only portrayed the elite of the European plutocracy, seemed be a link to validate all the lies about his origin.
By the time the young Elemér finished his art studies in 1928, his style of figurative painting became obsolete as new avant-garde trends emerged such as Fauvism, Expressionism and Cubism. This harsh reality and the economic shockwaves of the Great Depression clouded any prospect that he could make a living from his art.
Elemér Hoffmann, 1937
Police files in Geneva, Switzerland, indicate misdemeanor charges and arrests between the late 1920s and the 1930s. During this period, he was convicted ten times in five European cities for crimes including check fraud, document forgery and false claim to an aristocratic title. This indicates that his skill at artifice had its origin in financial fraud, probably driven by an inability to live within his lifestyle of high means.
At the outbreak of World War II, de Hory returned to Hungary. He soon ended up in a Transylvanian prison in the Carpathians for political dissidents; due to having been involved with a British journalist and suspected spy. Although he was later released during the war, only a year later, it is assumed that he ended up in a German concentration camp for being Jewish and homosexual. However, this story has never been confirmed. Edith Tenner, the widow of Elmyr’s maternal cousin and his only surviving relative, suggested that the forger may have spent the war in Spain. Other close sources say that he escaped from the hospital of a German prison and then later emigrated to Hungary.
The bon vivant forger.
Arriving in Paris after the war, once again De Hory had initially little success in making a living from his art. Instead, he realized his astonishing talent for copying styles from prominent painters. His career is supposed to have started when he managed to sell a pen and ink drawing to a British woman as an original Picasso. Having lived through repeated unsuccessful attempts to ignite his own career, Elmyr focused on his talent for imitation, selling his replicas to renowned galleries in Paris pretending to be the displaced Hungarian aristocrat selling his family’s art collection.
Elmyr l’aristocrate
For a time, he focused on counterfeiting works on paper, as the correct paper was easier to obtain and these works could go unnoticed more easily since many of the artists he forged, such as Picasso and Matisse, were still alive and they could realize a new painting on canvas. This “flying under the radar” technique of doing only minor works even led him to produce fake lithographs.
De Hory avoided using any type of pigment on paper until 1949, when he began adding gouache and watercolor to his ink drawings; solving the added complication of color with bulb-assisted drying and aging the paper with some tea brushing.
When producing works on canvas, Elmyr used to buy 19th century works at flea markets and scrape them, aware of how forensic examinations of the mediums were produced. To artificially age the works, he used two widely available commercial varnishes: Vernis à craqueleur, a varnish that produced rapid cracking, and Vernis à vieillir, which imparts a tinge of golden aging.
In 1947 Elmyr moved to New York. Later that year, he was able to find a correct stretcher on a vintage canvas, tested his first Modigliani painting, and baked it in the oven to dry the oil paint. Even so, the oil took two months to dry, but the resulting one was easily sold to the Niveau Gallery in New York. Soon after, he would expand his repertoire of forgeries to include works by Matisse and Renoir as well, but throughout his career he concentrated largely on Modigliani – since he was an artist with a very short life, his works rare and object of desire by many. From that point, Elmyr began to create an illusory world around himself that gave his art and himself the appearance of authenticity. This brought him friends, clients, and acceptance. To avoid suspicion, he had started signing the works under many pseudonyms: Joseph Dory, Joseph Dory-Boutin, Louis Cassou, Elmyr Herzog, Elmyr Hoffman, and E. Raynal are some of them.
Elmyr De Hory in studio, 1961
In 1960, De Hory struck a trade deal with two art dealers, Fernand Legros and Real Lessard, who devised many of the most brilliant and insidious tactics to corrupt the epistemological mechanisms that govern the art market.
Above all, Legros and Lessard recognized the importance of hiring art experts who could “guarantee” the authenticity of works. They knew who to bribe and who to cheat. At some point, they even managed to convince the artist Kees van Dongen that he himself had painted a work by Elmyr De Hory. By holding an exhibition on Raoul Dufy, they made sure to mix authentic works with those made by Elmyr. They put forgeries up for auction and then bought them back, giving the paintings the authority of having previously been publicly sold. To ensure a supply of reliable precedents they had stamps copied and produced their own documents. They did the same with the customs stamps, which facilitated transport and in turn provided an artificial provenance. They bought prewar monographs because the plates were easy to replace with a photographic copy of a De Hory forgery.
Few events in the art world confer as much status as the inclusion of an painting in a book, as it signals an almost unquestionable authenticity and elite status. Both the dealership duo and Elmyr understood how to exploit the weak points in the system. During the 1950s and 1960s, De Hory is believed to have forged more than a thousand works by great artists that were sold across five continents. Many have been removed from museums. Others, some experts say, have not been and perhaps never will be. De Hory created so many forgeries of Amedeo Modigliani that it has become impossible to compile a definitive catalog of the artist’s original work, according to Kenneth Wayne, director of The Modigliani Project.
Left: Harlequin (Picasso)/ Right: Portrait de Jeanne Hebuterne (Modigliani)
However, no new forensic techniques for analyzing pigments were anticipated by Elmyr nor the dealers. Most likely, this was due to a lack of knowledge about the history of the paintings, as it relates to their composition, and therefore the inability to anticipate that new forensic techniques such as X-ray fluorescence and Raman spectrometry would unveil their scam. These technologies can quickly determine elemental and molecular compositions and identify materials that shed light on a production date which was later than the painting claims to be, and in this last and crucial respect, De Hory’s artifice could be exposed.
In 1964, many experts and art galleries became suspicious of these works, when Legros sold 56 fakes to Texas oil millionaire Algur Meadows, who discovered the fraud and alerted Interpol, exposing De Hory as the artist behind the works. . The police were soon on the trail of Legros and Lessard. Legros sent De Hory to Australia for a year to keep him out of the eye of the investigation.
Life in Ibiza.
De Hory, center the life and soul of the Ibiza parties.
Most of the works he painted would be done in Ibiza in the 1960s, where he had a hidden studio his villa, named La Falaise. His life was relatively quiet, until the plot was uncovered. Fleeing justice, he soon had Legros co-inhabiting the villa, who claimed ownership and threatened to evict De Hory from La Falaise. Living with Legros was increasingly difficult, so De Hory decided to leave Ibiza. Legros and Lessard were arrested shortly thereafter and jailed on charges of various check frauds.
Tired of eluding Interpol for some time, Elmyr decided to return to Ibiza and accept his fate. It was not until August 1968 that a court convicted him, and solely for crimes of homosexuality, without being able to show any visible supporting evidence and be able to associate him with the Legros and Lessard frauds; sentencing him to only two months in prison and one year of expulsion from the island. During that period he resided in Torremolinos, Malaga.
A year after his release, Elmyr De Hory, who by then was a celebrity, returned to Ibiza. Soon after, she told his story to the writer Clifford Irving, who wrote his biography with the title: Fake! The story of Elmyr de Hory, the greatest art forger of our time, who he turned into an international bestseller. Irving himself was later convicted of another fraudulent biography of Howard Hughes, the famous aviator mogul. Shortly before, Irving and De Hory participated in Orson Welles’ documentary F for Fake (1973), which closely portrays this duo of counterfeiters and their abstract circumstances. In the documentary, De Hory questioned that his forgeries were inferior to the original paintings, mainly because they had gone unnoticed by the “reputed” expert class and were appreciated when believed to be genuine. In F for Fake, Welles also raises questions about the intrinsic nature of the creative process and how deception, illusion, or outright fraud can often prevail in the art world; in some respects, minimizing the guilt of the art forger and the outliers around him.
Clifford Irving and Elmyr De Hory, F for Fake (1973).
In 1969 a series of recent scandals had connected Elmyr De Hory to forgeries in the United States and France. However, in Spain he was still safe from the consequences. So he embraced his new personality: the great forger who had deceived the art world.
In the early 1970s, de Elmyr decided to try his hand at painting again, but this time he would sell his own original work. Although he had gained some fame in the art world, he made little profit and soon learned that the French authorities were trying to extradite him to stand trial on fraud charges. By rule this took a long time, as Spain was going through its last years of the dictatorship and did not have any extradition treaties with France yet.
On December 11, 1976, Mark Forgy, Elmyr’s assistant and partner, informed him that the Spanish and French governments had reached an agreement to extradite him. Soon after, de Hory took an overdose of sleeping pills and asked Forgy not to intervene or stop him from taking his own life. However, Forgy later went for help to take De Hory to a local hospital, though along the way he died in Forgy’s arms. Later that year, Clifford Irving had expressed doubts about Elmyr’s suicide, claiming that he may have faked his own death to escape extradition, but Forgy had dismissed this claim.
Throughout his 30-year career, Elmyr de Hory inserted more than 1000 forgeries into the art market, many of these works still residing unexposed in museums and private collections today. Living a life that can be seen as one of the greatest works of conceptual art of the 20th century, which in turn meant a deep critique of the art market. The only thing you can be sure of from this phony master is the uncertainty of the legend that surrounds him and the extent of his charade.
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In the last two decades in Ibiza there has been a gradual trend towards the design of gardens with native and Mediterranean plants. This trend that has been accompanied in parallel through popularity of modern interpretations of the original architecture of the Ibiza, as seen for example in the popular Blakstad style. Many of Ibiza’s native trees are of symbolic importance, as well as for decorative purposes. As with vernacular architecture, when it comes to construction, indigenous gardens also have features that become important advantages:
Adaptation to the environment: less need for irrigation, intensive care, fertilizers or chemical products and the hability to recover from eventual setbacks and pests. Mediterranean plants tolerate drought well and even tolerate some degree of carelessness.
Resource and energy savings: such as the cost of water, electricity and other operating resources, as well as the costs of gardening and maintenance services.
Sustainability: the less need of fresh water, an increasingly scarce resource on the island, and the impact of invasive species are avoided. In addition, the biodiversity of native flora and fauna is promoted, supporting natural habitats, soil health and the longevity of local species.
Resilience: the Mediterranean climate can sometimes be abrupt and rough; Torrential precipitations can occur in the rainy season, prolonged droughts in spring or summer, causing an increase in the degree of salinity of the network water. These are points to take into account as they can particularly harm species less adapted to the environment.
Reproduction: native plants reproduce more easily in a native environments, so in mature Mediterranean gardens it is common for new specimens of existing plants to appear more frequently.
Continued flowering: as the climate is very sunny, it makes it possible to have a garden designed to be in bloom in all seasons of the year, with some plants (such as Bougainvillea) in bloom for almost 10 months.
Wide variety: the island climate of Ibiza, although considered semi-arid, is relatively mild and offers a greater variety of planting, with multiple possibilities of color, texture and shape. The different combinations that it offers adapt to a multitude of designs.
For about two decades, a multitude of owners of different nationalities have experienced a change of taste in the type of gardens that surround their houses. The tropical gardens full of palm trees, seas of tropical flowers and large lawns, so popular in the 80s and 90s, are giving way to simplicity of the origins and a more permacultural approach – that is, based on the principle of “working with nature, not against it”.
One characteristic example of this trend is the increase in wild gardens. This consists of leaving part of the garden totally or partially feral, that is, without any kind of care or intervention other than an initial plowing or, on rare occasions, an intervention by plague or disease. The result is what the Ibizan countryside offers by default, where everything is growing in disorder, a great variety of flowers of all colors, types and shapes.
To add some more splendor to the wild garden, there are a variety of beautiful meadow flower seeds that can be scattered around the plots. These species can coexist in small spaces and each one will appear in its respective season. However, in this case the care technique is more sophisticated and consists in carefully removing the weeds between the plants so that everything develops, flourishes and comes out again the following year. This process requires some experience in gardening and above all to be diligent. For the rest, the seeds are well adapted to the weather and the soil of the island, therefore they do not require special care or fertilizers and they reproduce without much effort.
Ultimately, the Mediterranean garden recreates a relaxing sensation, through its soft-colored plants and flowers with distinctive aromas. For example, with the presence of lavender, rosemary and rockrose, a lush, aromatic garden is achieved with minimal care. A good method is to combine plants that bloom at different times of the year. Other plants, such as bougainvilleas or hibiscus, bloom practically all year round. Olive and lemon trees, while being among the trees best adapted to Ibiza’s climate, give an elegant character to the garden and a large quantity of fruits. To create a secluded environment, there are a variety of climbing plants, such as vines, on rustic-looking vertical trellises, making the most of the available space (especially for smaller gardens).
There are two types of gardens in Ibiza that fall into a special category and need a somewhat different approach. The gardens by the sea and the gardens with saline water.
Gardens by the sea.
On a relatively small island, with an area of 572km², the influence of the sea extends far inland. There are, for example, strong storms that hit the island in winter, leaving trees bent in the opposite direction to the wind as witnesses of its intensity. It is important to know that these storms do not stop at the garden limits, therefore they must be taken into account to be prepared for the adversities that these gardens usually suffer.
The strong wind off the Ibizan coast can knock down the youngest plants, cutting off tree branches and shrubs. However, the wind is not the biggest problem, but the resulting saltpetre that is deposited through the wind on the earth’s mantle and, dissolved by rain or irrigation water, can damage the fine roots of many plants. These fine roots are the ones that absorb and transport water, so few plants can recover from this saline saturation. In addition, these salts carried by the wind also settle on the leaves and can burn them.
The most important step would be to choose plants that are salt tolerant, which also avoids excessive maintenance costs. These plants tend to be native to coastal habitats and other environments with high salinity, such as the salt marshes. An optimal garden near the sea should also contain mostly dense plants and shrubs, forming a firm structure of robust and wind resistant plants. Generally, this type of vegetation is low in height and has few flowers. The flowers should be select, more like touches of color than for the usual prominence that they usually have in gardens.
Palm trees, pines and cypresses, with their flexible and resistant trunks, are suitable for windy coastal locations. Deciduous trees have less surface area that the winds can attack, since they lose their leaves from autumn when the harsh season begins. Succulent plants have water reserves and are ideal candidates for low maintenance gardens and have a greater tolerance to sea winds. Last but not least, almost any kind of cactus are ideal in this environment, since Ibiza is considered semi-arid and in these conditions they resist practically everything.
Summer is the most benign season for seaside gardens. Starting in autumn, the plants are put to the test and at the latest during the first winter of its life its put to the test whether a plant can resist the brackish winds. Strong winter winds in Ibiza blow 90% from the northwest, therefore the gardens on the south and southeast coast are largely more protected. In those areas one has more of an option of planting a variety of more sensitive species.
Gardens with saline water.
The residences in the south and southwest parts of Ibiza have a supply water that is of a higher salinity, especially in summer when more people use the water from the network. At some points in the summer you may have to buy bottled water to cook or make a simple coffee, but using that drinking water for the garden would mean an excessive cost.
Many kinds of plants suffer from the salinity of the irrigation water, for the same reasons that we discussed above, but in this case it affects in particular during the summer months. Saline irrigation water, added to brackish winds, can wreak even more havoc on plants that are not acclimated to these conditions. What usually happens in these cases is that the plants look good during winter and spring, due to the rainwater that dilutes the salinity, but when summer arrives they begin to lose their leaves and flowers, presenting an increasingly sickly state until there is no turning back, since its roots can’t tolerate the salinity of the soil, the plant dies.
To avoid dramatic scenarios such as the mass death of plants or an exorbitant water bill, there are two possible solutions: one is the construction of a water collection cistern for the rainy season (autumn and spring), which would involve construction, licensing processes and it is not entirely clear to what extent it would solve the problem; the more reasonable second option is to adapt to the circumstances and place plants that withstand both salinity and drought. In this case, it is recommended to plant them between October and April, when the abundance of rains and the more temperate climate help the young plants to adapt to their new habitat, gradually getting used to the increasing salinity, the strong sun and the summer droughts. Here is a quick list of saline water resistant plants.
Some steps that can be taken to reverse high salinity:
Plow the soil, providing organic matter and sand, to increase the permeability of the soil.
Install drainage pipes to evacuate excess water laden with salts.
Abundant irrigation of fresh water that floods and wash the soil.
Choose mainly resistant plants, in particular to the salinity.
Do not abuse fertilizers, as they salinize the soil.
In the long run, the sea has the strength to beat the greatest precautions and care provided in a garden, so lowering the claims makes sense to avoid displeasure, considering the beauty of the seaviews in itself.
The garden and wild flora that we know today on the island has been largely the result of the different cultures that settled in the Pitiusas throughout history. The ships brought seeds and plants from distant lands that were used for the cultivation. Not all seeds germinated equally in the island’s clayey, calcareous soil, nor did those plants thrive to survive the arid climate without the help of an effective irrigation system. After several centuries, some of these plants managed to acclimatize better than others and have been included in the catalog of indigenous plants and are today considered endemic to Ibiza and Formentera.
Among the multitude of conquerors who came to Ibiza, three cultures in particular stood out because they had the greatest influence on the introduction of new species and agricultural systems:
1. The Phoenicians (1200 BC – 200 BC) were the great merchants of their time. They founded one of their most important colonies in Ibiza, which meant the true beginning of a solid settlement and cultivation on the island. Having under their control a vast trading network and interaction with other civilizations across the Mediterranean, the phoenicians introduced a large number of new crops and techniques to the island.
2. The Muslim conquest of Al-Andalus and the subsequent Caliphate of Córdoba (AD 900 – 1235) meant a new era of prosperity and abundance for Ibiza, which left two centuries of dark periods of changing dominance of the vandals behind. With the arrival of the Arabs, new plant and fruit tree species were introduced, but above all were the modern cultivation knowledge such as the cultivation of the terraces and the most advanced irrigation systems of their time.
3. New plants and a series of cacti came from the Spanish colonies of Latin America, which adapted perfectly to the island conditions and now make up a significant part of the native flora. These new species from the new continent have been used by the local population for a number of purposes.
Here you will find a short guide to the most characteristic trees, palm trees and cacti of the Ibizan Garden with a brief description of their origin and use:
Carob tree (Ceratonia siliqua) – Its cultivation was extensive in the Arab era, but it is unknown if it is an indigenous tree. The fruits ripen in autumn acquiring a brown color. Carob was normally used as feed for livestock and was used to combat colds. Today considered a superfood and also used in the manufacture of medicines and cosmetics.
The carob trees provided shade in good times and nourishment in bad times. It was especially in the post-war period, when the general famine led to the harvest of a fruit that had hardly been considered before. Animal feed saved the lives of their owners, and later generations paid the debt with affection.
Carob Tree (Ibiza, 1956). Photo: Raoul Hausmann
Almond (Prunus dulcis) – growing wild 6,000 years ago, it began to be cultivated in Central Asia and was probably introduced to Ibiza by the Phoenicians. The almond tree had to be one of the first crops because it was very common in ancient times.
The tree adapted well to the light, calcareous, dry and stony soil of Ibiza as well as the temperate climate, with mild winters and little wind inside the island. It adapts so well in some areas of Ibiza that it blooms in early January. A beautiful natural phenomenon called the “snow” of Ibiza.
Giant Reed (Arundo donax) – was an everyday element of rural life in Ibiza, and came to the island from northern India and Nepal in the 16th century. The farmers used it for various purposes: for tomato plants to climb, to create enclosures for the animals and to create baskets. The cut reeds were later burned. The reed fields were regularly cut and kept under control, but when most of the field work was abandoned, this has led to unprecedented expansion of the reed, and this has recently become a problem for the island’s biodiversity.
The slender reed swaying in the wind in the dry waterbeds seems to beautify the landscape and to be a characteristic element of these habitats. It is incredibly hardy and sometimes even populates dry terrain or salt water lagoons (Ses Feixes).
Prickly Pear or Nopal (Opuntia ficus-indica) – is a cactus of Mexican origin, which was introduced by the Spanish conquistadors in Europe and is very common today. In the finca, it was used as a natural separation element, as a windbreak, as a primitive toilet or as a discrete waste disposal site.
The nopal has an anarchic growth form, which forms a complicated tangle of logs, on which flat blades covered with spikes grow one above the other in completely random order, from which grows a spherical fruit covered with thin, almost invisible needles. This fruit, called prickly pear, has been an important part of the local diet since its arrival on the island and the scoops have been used to heal injuries. Medicinal properties are attributed to the prickly pear. Today it is one of the most popular diabetes remedies. Their tender fruits are prepared liquefied with water or eaten raw or in a salad. The boiled root is also said to be a good remedy for gastritis and intestinal colic.
Holm oak or acorn (Quercus ilex) – formerly populated the forests of the Balearic Islands; but deforestation from the 17th to 20th centuries in Ibiza has led the holm oaks to be a rather rare tree. They are usually seen near rural farms for the use of their wood, which is highly valued for its hardness. This wood was used to make utensils and carriage, in addition to making charcoal. The acorns, are edible for both human and animal use and the bark was used for medicinal purposes, as healing and anti-inflammatory.
A close, bush-like relative, the Kermes oak (Quercus coccifera), is found in the interior of the island, feral near torrents and the forests surroundings.
The biggest holm oak on the island is the Bellotera de Can Carreró, located near Benirrás, seven meters high and a crown 20 meters wide.
Pomegranate (Punica granatum) – fruit tree of Asian origin, probably introduced by the Phoenicians or Carthaginians. In the past, a dark red pigment was extracted in the Balearic Islands to dye clothes, and the bark of the roots was used to fight intestinal parasites. The fruit is considered a superfood and powerful antioxidant, containing a large number of vitamins and minerals.
The pomegranate is a tree perfectly adapted to the climate of Ibiza and can be seen throughout the territory in the wild.
Fig tree (Ficus carica) – originally from Asia Minor and introduced by the Phoenicians. As an exceptional survivor, it grows easily even in poor or very calcareous dry areas, thanks to strong roots that slowly but steadily grow in depth to maintain groundwater. Indeed, it is recommended to plant the fig tree in an isolated place in the garden, away from the house and pool or any other structures, as it could easily lift the concrete over time.
The fig tree can grow both inside the island and on the coast. Because of its tendency to grow at low altitudes, it can withstand occasional strong winter winds. It should be noted that, apart from the nutritious fruits that we all know, fig trees offer a dense, fragrant shade under the tree top in the summer heat.
The listed fig tree known as na Blanca d’en Mestre, located in the extension of the camí vell de la Mola, in Formentera, is more than one hundred years old and has an enormous crown, supported by juniper struts, which reaches a horizontal surface of between 300 and 350 square meter.
Fig tree na Blanca d’en Mestre, in Formentera. Photo: Pilar Arcos
Loquat (Eriobotrya japonica) – Plant native to China and Japan, probably introduced by the Arabs. Its adaptation is good to the Ibizan environment, but it appreciates the irrigation in the driest months.
It has been better known as an ornamental tree, but it produces a sweet and succulent oval fruit, with a flavor halfway between peach, citrus and mango. It is an excellent diuretic and helps to eliminate excess fluids in the body.
Lemon tree (Citrus × limon) – it is estimated that it originated in China and came to the Mediterranean via Greece. Like the loquat, it was originally used as an ornamental tree. It is one of the fruit trees that has best adapted to the island’s climate and requires minimal maintenance. Excellent source of vitamins and a strong alkalizing agent.
Olive (Olea europaea) – originally from the s. I a. C., reintroduced by the Phoenicians. The olive has sustained the Mediterranean for millennia, providing fruit, oil and wood and a sense of historical importance in its gnarled and ancient branches.
The most magnificent of the trees is an ancient olive tree known as n’Espanya, located in San Carlos. It is believed to be over 800 years old and with a perimeter of 10.5 meters, it is one of the oldest olive trees in the country.
Palm tree (Phoenix dactylifera) – original from North Africa and introduced by Punic peoples (Phoenicians and Carthaginians), where it was planted near water points to take advantage of its edible fruits, the dates – which are a great source of minerals, so It helps to recover muscles, ensures the proper functioning of the nervous system and strengthens bones and teeth.
Apart from its fruit it was appreciated for its elegance and beauty, reaching a considerable height. The palm tree was also a symbol of social status and was used to be planted individually or in groups near the house.
Llegada principal a la finca Can Mariano Prats
Sentry plant (Agave americana) – originally from Mexico and – like the prickly pears – introduced in the early 16th century. It is very drought-resistant, with the leaves forming a rosette at the bottom of the stem to guide the water to its base. The vegetable fiber is extracted from its large bluish green leaves to produce Ibiza’s historic footwear, the Espardenyes.
The cactus, locally called Pitrera, can live up to 100 years and only bloom once (monocarp). The flowering consists of a 5-10 meter high and branched stem with yellow flowers. When the flowers die, the plant dies. Fortunately, before dying, they tend to produce numerous shoots that spread easily.
Aleppo pine (Pinus halepensis) – native to Syria, today the most common tree on the island. The wood was mainly used for furniture and firewood, the bark was exported to dye leather, and the waterproof resin that was produced when the juice was cooked was used for shipbuilding and other household chores. This pine is considered to be very resistant and aggressive, colonizes the environment and acidifies the soil to such an extent that only a few species of shrubs and plants can survive in its shade. For this reason, the trees removed the jaws when they appeared in the fields of the cultivation.
Stone pine (Pinus pinea) – unlike the Aleppo pine, this grows very differently and requires more water. It is also a tree that is completely indigenous, Spain being the country with the most specimens in the world. Its prized fruits, pine nuts, are of great nutritional value and contain 2/3 of the proteins in veal meat.
The Pi ver d’en Besuró is the largest specimen on the island, featuring a 12-meter tall height with a 25 meter wide crown and around 100 years old.
Sabina (Juniperus phoenicea) – was introduced by the Phoenicians in ancient times. It offers extremely strong wood that helped build the island’s houses, villages and settlements, while the sap served as an insect repellent resin. The trees themselves were carefully cared for, gently cultivated and made to grow straight and strong.
It is possibly the most emblematic tree in Ibiza and is currently classified as the island’s cultural heritage. A group of ancient Sabinas are located near Sa Rota in Santa Eulalia, a unique tree complex that is listed and protected as a historical heritage.
Grapevines – also introduced by the Phoenicians, but saw the era of maximum popularity in the 19th century. Later the plague of phylloxera arrived in Ibiza and the cultivation decreased. However, the residents have never stopped growing wine. Today the cultivation has expanded massively and the wine that is produced in Ibiza has even attracted attention outside the island. The island offers small valleys surrounded by mountains that are very suitable for viticulture. The soil, which consists of limestone, Dolomites and marl, is mostly clayey.
The “Sant Mateu Wine Festival” is celebrated in December in the village of Sant Mateu, and at this festival, in which people from all over the island participate, the locals present the young wines.
In addition to this selection, other plants such as orange trees, apricots, plums and vines complete traditional agriculture. The wheat and other cereals were mown in May. The red clay soil is fertile as long as it has enough moisture. During the summer, when it is not raining, most of the fields remain unused. Few farmers grew vegetables. The islander’s demand was met by transports from the mainland, and the exports were predominantly the carob fruit and salt.
There are characteristic elements of infrastructure and irrigation that have been of great importance in promoting a more productive crop on the island. These techniques were largely introduced by the Arabs – since they came from the driest desert areas on the planet and had developed (the still) most effective methods of water extraction. These elements are the following:
Terraces – were introduced during the period of Muslim rule and are very common in the length and breadth of the mountainous landscape of the island. These are terraced stone walls along the sloping terrain to create horizontal areas that are suitable for cultivation. They were created in steep terrain of more than 30%, where horizontal excavations were not possible.
Cisterns – usually underground cisterns that are filled by collecting rainwater. They are used in places away from rivers where there are no springs and wells, or where the groundwater is hard and salty and cannot be used to supply people or animals.
Acequias – is an open trench or canal that was built for irrigation or water supply. With the particular development in Arabic culture, these constructions have affinities for use with the Roman aqueducts, although their main use is to irrigate orchards, plantations or fields, using the orography of the site for the distribution and management of water from the networks of the Main channel.
Wells – were developed to optimally use the groundwater before many groundwater veins were exhausted due to overuse and the desalination of sea water had to be used. Meetings and festivals took place around fountains and springs, symbols of life and regeneration in many peoples of the world.
All of these cultivations and constructions are reminiscent of the past of an agricultural island with poor soils, scarce water and a diverse population history. Centuries of invasions and looting followed by hunger and neglect led to a culture of resilience and ingenuity in Ibiza.
Globalization has facilitated access to materials and ideas on an unprecedented scale, but Ibiza’s cultural heritage is still very much alive as a model of self-sufficiency and connection with nature, which for many can be a fundamental part of personal well-being.
Raoul Hausmann was born in Vienna in 1886, as the son of an academic painter. In 1900, the whole family had moved to Berlin, where the young artist met the influences of Cubism, Expressionism and Futurism before becoming one of the founders of the Dada movement in Berlin in 1918. Two years earlier, Dadaism emerged in Zurich as a reaction to the World War I, and an iconoclastic questioning of the forms and objectives of art. However, the Berlin version of the movement adopted a more political stance: under the pseudonym Der Dadasophe, Hausmann played an important role, performing mostly institutional criticism in Germany during the years between the two world wars, until he started being persecuted by the Nazi regime.
As he didn’t find the answers in fine arts and particularly in painting he was aiming for, Hausmann was possibly theinventor of photomontage, which consists of combining, without a defined plan, cuts of photography, newspapers and drawings to obtain a plastically new work that would assume a political, moral or poetic message. It emerges as a kind of ‘visual anarchy’ (visueller Anarchie), to become later an extended form of modern art. Besides the important contribution of photomontage, Raoul Hausmann is also known for being a pioneer of phonetic poetry, an experimentalist form that avoids using the word as a mere or as the only vehicle of meaning. One of his most famous poems, Fmsbw, profoundly influenced the work of the important dadaist Kurt Schwitters.
[caption id="attachment_4576" align="aligncenter" width="768"]Raoul Hausmann and Hannah Hoch, 1st International Dada Convention (Berlin, 1920)[/caption]
Dadaism emerges in 1916, in the middle of the world war, with the intention of destroying all pre-established codes in the art world. It is considered an anti-artistic, antiliterary and antipoetic movement, since it questions the very existence of art, literature and poetry with their respective norms. From the beginning, this movement presents not only a rejection of any tradition or scheme prior to it, but became a way of living.
The movement was born at the Cabaret Voltaire in Zurich, when the Swiss city had become a refuge for migrants from all over Europe who were escaping the war and where representatives of various schools such as German Expressionism, Italian Futurism and French Cubism met. Dadaism has the particularity of not being a movement of rebellion against a previous school, but questioning the concept of art in its entirety. For the first time in history, chaos, chance or the imperfect were defined as beauty, establishing themselves as central elements within their movement. With marked tendencies towards shocking and destruction as the main objective … in fact, nothing made a Dadaist happier than to scandalize a bourgeois.
Left: “ABCD”, Raoul Hausmann (1923). Right: “The Spirit of Our Time – Mechanical Head”, Raoul Hausmann. (1919)
Dada is anti-everything. Anti-art, anti-literature, anti-dada even … its name was chosen randomly, this being a main feature of the movement; as well as freedom, the destruction of norms and canons. Dadaism set a very important precedent for contemporary art, since it contradicts previously irremovable concepts such as eternal beauty, the eternity of principles, the laws of logic and the immobility of thought. The Dadaists, on the other hand, promoted spontaneity, the freedom of the individual, the immediate, the random, the contradiction, defended chaos against order and imperfection against perfection.
Refuge in Ibiza.
Raoul Hausmann landed in Ibiza between 1933 and 1936, fleeing from Germany due to appearing on the list of “degenerate artists”, compiled by the Nazi regime. He arrived accompanied by his wife, Hedwig Mankiewitz, and Vera Broïdo, his lover, both Jews like him.
During his stay, Hausmann explored the most characteristic corners of the island. The simplicity, the morphology of its landscapes, the archaic customs of its inhabitants and its architecture quickly subjugated the artist. Thrilled by the material and cultural purity of the place, he focused mainly on any reference to anything that was intact or that had not undergone any post-industrial alteration.
Finca around Sant Josep, Ibiza (1934)
He discovered the importance of material culture in the rural architecture of Ibiza; which impregnated the exhaustive analysis that he made of these constructions and the morphology of the landscapes. Hausmann admired the sense of autonomy and self-sufficiency embodied in these peasant homes. He also admired the singular simplicity, the nobility and purity of its architectural forms, created exclusively to respond to the needs of man; an “architecture without architects” in which he observed something primitive as well as contemporary, with clear geometries and controlled proportions.
Hausmann began writing anthropological and historical essays about the island, and his images were published in various magazines. His drawings, collected in diaries and notebooks, provide a unique insight at the origins of the constructive reason and the materials of the ancient houses. He made these houses one of the main reasons for his photographs as well as the inhabitants of Ibiza. Hausmann had a special sensitivity for photography, with the intention of projecting small but intense experiences from which one could extract particular appreciation.
Photos and Notebook (R. Hausmann): Finca Can Mestre / Can Palerm.
His statements are represented on hundreds of typed pages and almost five hundred photographic negatives, as well as a book published by the artist called Hyle. The legacy of the artist illustrates the “virgin” Ibizan landscape, which sustained an isolated and archaic local culture. Both constituted the perfect stage for the experimentation and artistic development of Raoul; a harmonized environment, the result of the respectful material interaction of farmers who used natural resources only to respond to their primary needs, where technical limitations and natural supply conditioned the results.
These works would be complemented with Hausmann’s research tasks, identifying links between the architecture of Ibiza with references in other Mediterranean constructions and cultures; a fact that would also captivate later scholars, such as Rolph Blakstadfrom around the 1950s.
When the Spanish Civil War began, Hausmann joined the republican side and even managed to organize an international anti-Franco committee in Ibiza. But when the island fell into the hands of the Fascists, he was forced to abandon it and continue his exile in Switzerland. The following years were described as a bitter exile, during which his work was dispersed or destroyed. After finishing the Second World War in Europe, Hausmann settled in Limoges, France. There he continued his artistic production of which among others he resumed painting once again, which he had left aside for so many years, and, according to local witnesses, he lived a fairly lonely life until his death in 1971.
Left: Raoul Hausmann, L’homme qui a peur des bombes (The Man who is Afraid of Bombs) (Film. 1957) / Right: Raoul Hausmann, Dada Raoul, (1951)
Hausmann was known to be a rebel throughout his life. He never took anything for granted and always fought against all kinds of certainties that he considered unjustified. His life was a continuous struggle to counteract the authoritarianism and German fanaticism of the time. In this light, he always maintained a Dadaist stance faithful to contradiction. He profoundly questioned the state of the society and the so-called progress, at a time when it was considered purely beneficial; a general doctrine that later contributed to the disasters of two world wars.
After settling down in Ibiza, however, Hausmann admired an archaic culture and way of life and a handcrafted utilitarian architecture. His studies of the Ibizan fincas, which were the result of many cultural influences (Phoenician, Egyptian, Roman, Arabic), were intended to demonstrate that: – “the idea of a single origin was a fiction, and that the so-called ‘purity’ of a people or culture didn’t exist”. His portraits of the peasants of the island differ drastically from the ‘racial’ portraits so practiced at that time. Halfway between study and poetry, he described those dignified subjects as “fierce and freedom-loving”, and he liked to portray them in photographs outside of their usual context.
Photo: Raoul Hausmann
One can argue that both the depth of Hausmann’s thinking and the extent of his centers of interest, as a writer, poet or as a photographer, are still undervalued nowadays. Reluctant to great artifices or effects in his photography, but remarkable how this simplicity of his images is at the same time modest while very real and powerful. In this article it is only possible to show a part of the work and creativity of this extraordinary artist, encouraging the reader with interest to look more deeply into further of Raoul Hausmann’s work.
To end with, a characteristic example of the Dadaist movement, the phonetic poetry:
“The Great War in a Nutshell“(excerpt from a lecture on the artistic movement of Dadaism and its historical context.) The soundtrack is compiled from Futurist and Dadaist music and poems from the 1910s and 1920s as Kurt Switters , FT Marinetti and Raoul Hausmann.)
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Vernacular architecture has evolved over many years to address the inherent problems of housing. Through a process of trial and error, populations have found over the centuries ways to deal with the extremes of climate.However, the influence of Western culture is omnipresent and the tendency to an internationalized construction style has resulted in a reduction of traditional solutions.
Logically, modern inhabitants demand higher standards of comfort in their homes. Such standards can be achieved through the use of machinery like air conditioning systems, which have considerable initial costs and an even greater energy demand in the long-term. However, with the careful use of traditional techniques it is possible to create thermal control improvements, since there are clear advantages to drastically reduce energy needs and a greater use of architectural style can create a more pleasant living space.
Fallingwater, by American architect Frank Lloyd Wright (1934) /Photo: Carol M. Highsmith (public domain)
This does not mean that designers should imitate the paths of the past. Modern materials, technology and innovative construction techniques should be used in the search for efficiency and profitability. Despite this, ignoring our architectural heritage and overlooking the accumulated wisdom of the past involves neglecting the inevitable challenge for greater energy efficiency need in the s. XIX.
The wisdom of popular construction provides us with the protection of unfavorable climatic conditions and achieve a comfortable microclimate are the primary objectives of this architecture, as well as design buildings that are in harmony with the harsh climates of its various regions.
In traditional architecture, the internal thermal regulation mechanism is incorporated in the building itself. It takes into account the topography, construction, morphology, even the layout and use of internal spaces participate in the function of the mechanism of thermal regulation.
However, internal conditions abstained considerably from the current comfort requirements. Rapid and spectacular advances in the technology of heating and air-conditioning installations for refrigeration, as well as other technical innovations and international design influences, have displaced the architecture of traditional values and principles.
Mechanization and internationalization led to the rejection of traditional methods and the lack of knowledge of the physics of construction deprived the structure of the building from its basic skills and left it at the mercy of the climate. Modern buildings have become climatically inept, with air conditioners replacing natural cooling, assuming a high energy consumption, as well as a cost reduction for construction companies and a huge profit for the energy industry.
Submission of architecture to the machine also leaves some problems of basic comfort conditions in the interior unresolved;such as cost problems, maintenance of mechanical facilities or energy over consumption.In Great Britain, for instance, buildings have shown to absorb a huge percentage of total energy consumption that reaches up to 50% of total on average.
Fossil fuel scarcity, as well as the growing degradation of the environment, have awakened the interest of the use of more ecological materials, processes and energy sources and has made it necessary for our modern buildings to provide shelter with the least possible expenditure of energy.
Casas Bioclimáticas ITER – Sur de Tenerife
This gave rise to a new approach to bioclimatic architecture, which considers the building as a whole from the beginning stage as a place of energy exchange between the interior and exterior, the natural and climatic environment. Consider the building as a living organism; a dynamic structure that uses the beneficial climatic parameters (solar radiation for winter, sea breezes for summer, etc.) while avoiding the most adverse climatic effects. In this approach, the mechanical systems are integrally interconnected with the architecture and must be taken into account as fundamental elements of the building.
This new approach seeks to evaluate the energy demands for heating and cooling in buildings, first of all analyzing the free energy systems that are available. The preliminary analysis of bioclimatic terrain graphics for architectural design allows to outline strategies for an appropriate building location in any season of the year, which could considerably reduce the energy cost and minimize the need for mechanical means, while considering high standards of modern comfort criterias.
It is clear that the task of the modern architect is considerably more complicated than that of the ancient builders. The demands of modern life introduced new factors and considerations into the design of buildings beyond the relatively “basics” of the traditional lifestyle. As technology advances and life becomes more demanding, the judicious and optimal organization of complex variables that involve technical, social, utilitarian and cultural aspects, still converge in the creation of cosiness and convenience for the inhabitant. The priorities of the architect in the design process is therefore altered; machines become more important in the production of comfort standards. In addition, as the feeling of ‘comfort’ is a subjective perception, it varies from person to person from one culture to another and over time. Therefore, it is unfair and wrong to judge thermal comfort levels in traditional buildings for the same pattern we use for modern ones.
However, the tools, materials and techniques available to the modern architect are more than the indigenous builder could ever have dreamed of. In addition, the architect has the advantage of the accumulated knowledge of his predecessors. Through the union between the traditional viable approach to construction and the complex design criteria of contemporary practice, recommendations can be derived for maximum energy efficiency in the building.
In addition to these two main elements of traditional architecture that mitigate extreme weather conditions, the organization of spaces and their orientation, other architectural solutions that reflect traditional wisdom and are used in modern passive solar architecture are identified. These components are the varied designs of windows and their shading devices, such as blinds, screens, pergolas and overhangs.
Of these, the courtyard, the overhangs or side walls and the manually operated shutters were tested in a series of parametric optimization studies and it was discovered that the more complex houses with a U-shaped patio, save more energy than the simple forms. This was attributed to the additional factors involved in the thermal performance, with the introduction of carefully chosen parameters in the optimization studies that act as regulators in the house, such as the enclosing insulation and the orientation with more surfaces exposed to the south.It has become obvious that an effective pattern requires thermal studies for each building with its own geometry, configuration and particularities of an integrating design approach.
For the shading, it was concluded that the optimized design of overhangs and lateral walls, without shutters or blinds, could provide sufficient summer sun control to maintain thermal comfort inside. The application of blinds is often limited by a series of environmental, architectural, economic and behavioral design considerations. The solar control function could then be carried out as a secondary function and the blinds could be installed mainly, if necessary, for privacy or security. However, the conclusions of studies reinforced the belief that the intention of the inhabitants of the Mediterranean in regards to shading of the blinds was for the maintenance of interior comfort.
The passive responses of traditional architecture to local environmental conditions and influences represent a treasure trove of knowledge and information patterns for modern sustainable and bioclimatic architecture. Therefore, successful climate design should not ignore the accumulated experience and wisdom of our ancestors, but should develop after a deep understanding of the scientific knowledge, rather than an emotional assessment of traditional architecture. The architectural expression must respect regionalism and be based on a multidisciplinary design approach.
Mass knowledge and technology from modern industrial development should not be ignored either. Therefore, architecture must be a synthesis of both, the aspects that are in harmony with traditional values and at the same time adequate for contemporary societies, their cultural identity and human scale, based on appropriate technology.
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Kelosa Blog editors are not responsible for the opinions or comments made by others, these being the sole responsibility of their authors. Although your comment immediately appears in Kelosa Blog we reserve the right to delete (in case of using swear words, insults or disrespect of any kind) and editing (to make it more readable) or undermines the integrity of the site
Located in a rural area between Es Cubells, Porroig and Es Jondal, in one of the most desired areas of the south coast of Ibiza, this newly completed villa stands out above the rest of the island’s newly builded modern homes. A fact not hard to see, since it marks a clear difference for the quality of its materials, the elegance in contemporary, the iconic furniture, the avant-garde architecture and, of course, its location; presenting free and beautiful views to Formentera, and the Cala Jondal and Es Cubells bays and the nice villages of San Josep and Es Cubells can be reached within minutes. A home designed with taste and dedication, both horizontally and aesthetically, offering full performance of its location, with the right orientation of indoor and outdoor spaces.
This is also an object that seeks to offer maximum privacy, but without being secluded, since there are several neighbors next to and in the nearby area. The property owns 2700 m2 of land, completely fenced and accessed by a private road with an electric gate. It is a plot of great quality, since its south-orientated, with more light throughout the year, sun downs in winter, summer cross-winds and a few other benefits which are found in the likewise south-orientated traditional Ibizan homes.In addition, as far as lifestyle is concerned, it is conveniently located between several desired places in the southwest of Ibiza, as well as 10 min. by bicicle to Es Torrent beach or less than 5 min. by car from Es Jondal beach. Ibiza Town and the airport are only about 10-15 min. drive away.
The main entrance to the house is the access to an extensive and bright room in a diaphanous open space, 3’30 meters high ceilings and a large panoramic window of 14 meters length, with sliding doors that invite to the spacious front terrace and open up to the iconic landscape and the intensive blue seaviews. Living room, dining room and kitchen are connected in the same space and, despite being technically the same room, the living room is visually disconnected from the kitchen and the dining room by the walls of the access to the lower floor, creating in this way an autonomous and “personal” space, but without being disconnected from the life of the house. The dining room is flooded with light and leads to an open high-quality custom-made Warendorf kitchen which is fully equipped and has electrically operated drawers. The highlight of the kitchen is the combination of macassar ebony wood and rolled stainless-steel finishes.
From this main room one can access the lower floor through stairs, separated by three walls that enclose the cubicle-shaped access with large front glass. This strategic window allows natural light to enter the space of the stairs during the day, and for the nocturnal hours bands of indirect lights subtly illuminate each of the steps. Windows are from the leading manufacturer PanoramAH!. These large windows are minimalistic, with 2 cm aluminium frames to ensure undisturbed views. All windows have electric, aluminium sunblinds, which enable the adjustment of the amount of light coming in to the house. Beautiful light and shade effects are the result.
The lower floor has a large master bedroom, with en suite bathroom and dressing room, as well as a private garden, and three more bedrooms all with bathroom en suite. The bedrooms are all on the lower floor and, despite having a considerable surface area, the ceiling heights decrease with respect to the upper floor in favor of a more secluded and cozy feeling. All bedroom doors are from the Italian manufacturer Lualdi, of the “invisible” type, as they are visually in one, smooth line with the walls. The bathrooms are very spacious and receive a lot of natural light, equipped with accessories of Italian design by Cocoon and functional designs of the German manufacturer Duravit. The shower walls in all bathrooms are cladded with a beautiful, dark natural stone. The master bathroom has a double shower, from where one looks on to an outside natural stone wall. All the bed- and bathrooms are fully equipped with quality custom-made wardrobes, and in the master bedroom have a eucalyptus wood finishing.
The furniture in the home is scarce, but stands out for its marked originality. Each piece is consciously chosen to give the minimalist space a sophisticated character. The living room, for instance, consists of the Lord Sofa and a Kay Recamiere chaise lounge, both by Christine Kröncke. The dining room table is made of a single piece of Kauri wood, a gigantic tree endemic to the North Island of New Zealand (called by the Maori natives as The Father of the Forest), with a wood that is prized for its hardness, versatility and its rarity. This unique piece is combined with the classic Nordic design Wishbone chairs by Hans J. Wegner and above the dining table there is a large suspension chandelier from Foscarini, the Allegretto Vivace. To decorate the large, white walls, there are 3 paintings of the internationally recognized German artist Gregor Gleiwitz, who had several exhibitions in Berlin, Los Angeles or London, for instance.
The architectural design manifests itself with a clear predilection for large spaces and high ceilings in common rooms, but also with a love for detail that is present throughout the house. This precision can be observed, for example, in the borders incorporated in the wall, presenting functionality without clashing with the sharp lines, or in discreet and balanced artificial lighting. The large windows of the front of the house can be defined as “invisible doors”, with an almost imperceptible frame which allows an uncluttered view of the landscape. The blinds have been chosen exactly the same shade as the frames for the least possible visual impact. The floors inside the main and the guest house and all the terraces are made of a lime stone from Portugal, emulating the local coastline rock, the marés, which forms the whole wall of the Dalt Vila citadel and was used since Ancient times in Ibiza. The terrace in front of the living room has not been covered on purpose, in order to give the buyer the choice of various options, which could be covered with a wooden pergola or by sun sails.
The exteriors of the house are mainly built with natural products that do not clash with the landscape: native plants, bushes and fruit trees, natural stone walls, aged wooden beams; all these arranged creating simple geometric shapes. These forms are in turn typical of the minimalist design of the house and soften in a certain sense the contrasts between human design and the nature landscape. The exterior also offers several terraces and an elegant swimming pool, covered with dark stone tiles, which overflows on its four sides. The level of the pool is slightly elevated above the level of the terrace, and this in combination with the black pool tiles and the overflow on all 4 sides, gives a beautiful “mirror-effect”.
A lot of effort has been made with the landscaping; various areas have been created, using mostly local plants like lavender, rosemary, oleander and other mediterranean plants. Levels are separated by big natural stone blocks. In the garden one will find very large and old pine trees, olive trees and fruit trees. The garden offers full privacy from the surrounding houses. Underneath the largest and oldest pine tree in the garden, one will find DEDON’s Hanging Lounger, creating a relaxing chill-out area with beautiful views. There is also a separate guest house with two additional suites, each with its individual entrance, aswell as a personal studio apartment a fully equipped Bulthaup kitchen, which can be used by guests or a housekeeper.
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The White Angel is a new luxury housing development project just 1 km from the beach of Cala Conta, one of the most popular destinations in the northwest of Ibiza.
The promotion was designed by the architect Víctor Rahola, originary from Barcelona and a reference today in the architecture scene of Ibiza. Rahola has proposed the plans of the houses in an L-shape, attributing them a design with a fine balance between tradition and avant-garde, bringing benefits of Mediterranean architecture together with a contemporary minimalist approach.
The catalan architect has made every effort to meet the expectations of the luxury lifestyle and at the same time ensure the sustainability of the environment.As Rahola himself tells, a year and a half of project have been needed to combine these two concepts, opposed in many of its elements, but not incompatible. Regarding sustainability, they have always tried to incorporate bioclimatic strategies to reduce energy demand: thermal (and acoustic) insulation, natural ventilation, sliding walls, passive protection, sun protection and garden roofs.
Each of the 15 units has 352 m2 of living area, with a terrace, two swimming pools, a garden and a basement. However, the surface of the plots can vary, between 600 m2 to 1000 m2, depending on the property unit. Each house has three floors, among which are the five bedrooms (two en suite). The garden and the main pool are on the ground floor. The main bedroom in the attic, with access to a large terrace with an infinity pool, from where you can enjoy the sea views and the famous sunsets of Cala Comte.
All homes of The White Angel offered the possibility of small customizations to the taste of their owners. In the complex there are three different types, which allow you to play with the variation of your own volumes. In reality the whole complex is projected as a “mat building”, a modulated system that by means of the diagonalization aims to generate the variety, as for example some interior spaces and the gardening could be different in all the houses.
Inside as well as outside, the finishes are made of wood and Sinai stone. The sand colored floors next to the large windows transmit warmth and brightness. One can describe the interiors as a combination of large and generous spaces with the domesticity of the small, where the use of warm colors and white predominate and the furniture and the coatings always are in harmony in one same space. The position of the walls generate shadows and, in turn, allow natural currents of air that manage to refresh the environment of the house. It is entirely an architecture that, despite being fundamentally contemporary, express the character of the Mediterranean building style, specifically what refers the culture and architecture of Ibiza.
The director of The White Angel, Jorge Juan, highlighted that the company “carries out the project from beginning to end, which allows to control the whole process and offer excellent quality”. The fact that The White Angel Cala Comte was developed by a group of hotel experts brought the fairly recent trend of Lifestyle Management to this urbanization, with most kinds of premium services to expect as an added value. All the homes include an integral service, among which are the daily maintenance of the property, punctual repairs, but also transfers, babysitting service, organization of parties or restaurant reservations.
The location of the residential complex is another point in its favor: just a walk from the beach of Cala Compte, 5 minutes by car to Cala Codolar, 10 min. from Cala Bassa and the cliffs of Es Vedra and 20 min. from the airport and Ibiza Town. The natural landscape surrounding the complex is one of the most impressive on the island, with the sea always present in the background and can be enjoyed both in summer and in winter. It is ideal not only for sea and beach activities, but also a popular destination for bike rides, jogging or simply peaceful long walks.
What this promotion stands out for among others in the same environment, is the concept in which the hotel experience was put into practice to provide added value, in the form of service and customized solutions for the new owners. In addition to this, there are of course the exclusive location, being one of the last building plots of Cala Compte area; aswell as the sophistication of the design, adapted to the location and taking advantage of the last tendencies in bioclimatic and sustainability, both tendencies in modern architecture that are based some even on the vernacular architecture of the island.
According to the project managers, during their presentation, these mentioned before were the three main pillars that distinguish The White Angel’s brand; but on top of that we could also mention the quality of the houses, which are the result and control of all the construction phases – from the architectural project to the construction, the choice of materials, equipment and the importance of the human teams that participate in it.
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This modern home, situated on a hill in the middle of the wild nature of Ibiza, fuses the traditional native architecture with forms and elements of contemporary design. This personal design, created by Blakstad, is respectful with the environment and provides an atmosphere of cozy living, bringing a modern lifestyle approach to the local vernacular architecture of the island. This culturally sensitive approach to local architecture also reduces the visual impact on the surrounding natural and historic landscape of Ibiza.
The concept that is based on the original archaic architecture of Ibiza, provides benefits from an ancient popular knowledge related to the bioclimatic and the sustainability of the building. The flat roofs serve to collect rainwater, which is channelled into a cistern for later consumption. The thick walls and small windows serve to isolate the buildings from the outside temperature, so that the interior remain cool during the summer and stay warm in the winter, adapting to the climate of each season. The main facade, facing south, fully captures the rays of the sun in winter and has a greater shadow in summer, allowing a cool breeze to enter the home. In addition, the white painted walls reflect the sunlight and prevent the overheating of the buildings in summer.
The modern minimalist touch allows the transformation of the traditional rustic farmhouse of small dimension and dark interiors, into wide, luminous spaces and diaphanous inner distributions. A series of subtle interventions combine contemporary design with traditional architecture, maintaining the charm of pre-existing structures in order not to loose the warm essence of the rustic style. For the most part it applies that the method, techniques and construction materials are still used as in the old Ibizan farmhouses. Added to this are structural improvements such as increased size of the rooms, higher ceilings and extended windows and skylights, which assure a more bright and light flooded interior. The characteristic wooden juniper beams are still maintained in many of the ceilings and, due to the austerity of the minimalist design, these hardwood beams assume an increased ornamental relevance.
The house is in an exceptional location near the picturesque village of San Joan, in the northeast of Ibiza, offering wide panoramic views over the mountains all the way to the sea. The access road passes through a beautiful landscape of hills and pine forests and the property itself is surrounded by one of the purest natural sites to be found on the island, from where one can value the tranquillity and beauty of the rural setting. The house has several terraces that offer secluded as well as open spaces. Likewise, the garden offers a traditional landscape, with numerous old olive trees and other autochthone fruit trees, surrounded by different levels of ancient terraced farmland with beautiful natural stonewalls connected by stairs. In front of the villa there is an infinity pool with a large terrace, from where one can enjoy the panoramic view.
Despite its minimalistic simplicity, the house was designed with great attention to detail, both inside and outside. The inclining walls of Phoenician influence invite the visitor through the main entrance leading to the living room with its high ceilings, its visible juniper beams and open fireplace. The modern style kitchen and the spacious dining room are connected with the living room. At the front of the villa a large terrace connects the living room with the exterior. On the first floor there is a very spacious master suite with its own living room, a fireplace and two further bedrooms suites. The separate annex has an office and salon that could be used as guest house.
The design is basically the result of a modern interpretation of the local vernacular architecture. Canadian architect Rolph Blakstad devoted much of his life to the historical study of the traditional Ibizan fincas and its origins, developing a thesis that claimed that the vernacular architecture of Ibiza is the most faithful legacy of the Phoenician and Egyptian constructionsof the antiquity and remained largely unchanged throughout the centuries.
The Ibizan fincas are architectural manifestations of pure simplicity and functionality, born of the needs of self-sufficiency with which the inhabitants of the island had lived for centuries. Throughout most of its history, Ibiza was a cultural and economically isolated society that had to use local resources and knowledge in order to survive. Therefore, the construction method pursued subsistence and practicality, thus developing bioclimatic properties and resource sustainability (by necessity).The traditional farmhouses are often completely absent from decorative elements, revealing a large number of technical and aesthetic similarities with the minimalist architecture.
Blakstad’s intuitive approach is on one hand impregnated by ancient traditions, the result of decades of dedication, and, on the other hand, developed from an appreciation of the need to adapt creatively to current trends without losing the cultural identity of the island. The result is an indisputable success: currently Blakstad Design Consultants enjoys great popularity, setting a trend in Ibiza among an international clientele and lately even imitated by other architects.And it is not surprising, since the simple and symmetrical beauty of its cozy spaces invade the visitor with a feeling of calm and serenity, fact that make these homes a unique experience to live in Ibiza.
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Located between Santa Gertrudis and San Mateo, at Ibiza’s center and one of the most rural areas, is this modern villa with a unique design that stands out for its minimalism, elegance and expressive geometry. Although at first glance this modern home doesn’t seem to bear any resemblance, this work by Parisian architect Pascal Cheikh-Djavadi was built on a ruin of an ancient Ibizan finca and represents largely a reconstruction thereof, based on traditional elements such as construction plans, materials and distribution of the house.
Previously this place had been a neglected plot, surrounded by unspoilt nature sprouting from old cultivation terraces, made of characteristic dry stone walls that held meadows covered with wildflowers and fruit trees. The appearance of abandonment of the ruin suggested a complete reconstruction, but both the architect and the owner were admirers of the principles of the vernacular architecture of Ibiza and chose to include fundamental aspects of the traditional rural house. This was probably done through a deconstruction of concepts at first, then to regroup the most basic and easy to combine with an essentialy contemporary style.
Characteristic elements of Ibizan architecture have been embraced in this building, such as keeping the rectangular plane of the main hall, a south facing main entrance, juniper beams on some of the ceilings and fewer windows than what is usual in modern homes. The minimalist design and the large size of the rooms does not seem to bear any relation to the traditional house of Ibiza, but by adopting some fundamental aspects of it, apparently hidden, one is able to perceive a similar sensation. In fact, apart from its cubic forms, these two architectural disciplines share several fundamental similarities, which makes them relatively easy to combine and newer parts of the structure fit smoothly with the old parts.
With the construction, the height of the ceilings have doubled and the space of the rectangular main room expanded, while the bedrooms and other secondary rooms show smaller spaces. The typical height of 3.5 meters of the Ibizan finca has increased to about 7 meters high in the large living room with kitchen, combining a strictly quadrangular structure of the exterior with a vaulted ceiling that extends throughout the interior roof. These elegant curves are surprising to fit perfectly with the rest of the design, which by its minimalist nature tends not to show this kind of silhouettes, since seeking the purity of form and space, leaving aside any ornamentation, minimalism architecture tends to be elementally rectilinear. This vaulted ceiling also seems to add a touch of softness which often lack of the minimalist interiors.
The interior of the house combines simplicity and personality in a balanced manner, where a fresh and cozy sensation convey simultaneously. In the multipurpose living room a series of consecutive vertical windows, together with whitewashed walls and polished concrete floors, cause an attractive play of light and shade. In the living room and master bedroom there are discrete fireplaces found in the walls without any finishing. The furniture is carefully chosen and there is a neutral colour palette with touches of selected colours that blend with the overall concept. The furnishings and interior design as a whole shows a significant influence of Japanese Zen design, with elements such as tatami beds and low cut furniture, indirect lighting and paper lamps, large passing areas, clear main walls, absolute order and minimum presence of accessories.
Among the furniture and accessories there are many iconic objects like the Eames Lounge Chair and Rar Armchair by Charles & Ray Eames, the DS-600 sofa by Ueli Berger & E. Peduzzi Riva, the Butterfly Chair by Jorge Ferrari-Hardoy, the Bertoia Side Chair by Harry Bertoia, the System 1-2-3 chairs by Verner Panton and lamps as the One-Arm Floor Lamp by Serge Mouille or the ‘Pipistrello’ Table Lamp by Martinelli Luce.
The master bedroom is also a pretty unique space, where in front of the bed there is a bookshelf that raises to the ceiling and a protruding window on the left. This bulging window seems to feature a large eye that covers the landscape from the inside, while the window frames are deep enough to provide seating for several people, like a small room that connects the home interior with the outside natural environment. The protruding window represents a transitional space that offers direct views of the colorful countryside and brings character to the house in general.
Regarding the outside of the house, a pure minimalist design and simple geometry is shown, with rigorous simple lines, functionality, spatiality and a clear tendency to reduce to essentials. The rectangle shape is repeated in various scales, like the plans of the modules of the house, the windows and doors, fireplaces or the swimming pool. Being surrounded by wild countryside, in a first moment the house has a impactful effect on the observer; however, knowing the background with which the architect designed the house, the determination with which he has worked starts to make a lot of sense.
The personal style of Pascal Cheikh-Djavadi is difficult to define, since in what refers to design his works differ considerably with one another, but they always show character and stand out for their audacity. Its possible to say that his style, minimalist in essence, can adapt very well to other architectures or influences. Cheikh-Djavadi also demonstrates a rigorous attention to detail and is acutely aware of the location and dimensions of his works, aspects that affect such important elements as light and the building’s bioclimatic.
Through the conservation of the axis of the entrance of the old building and by expanding the living area, with the addition of two new cubic volumes on both sides, it becomes clear that a balance has been achieved between the traditional architecture of Ibiza and creating minimalist spaces. Taking into account aspects such as quality of life and modern comfort, this house has provided improved habitability and turns out to be more homely with respect to any of the two architectural disciplines that have been combined. We can say that this villa, regardless of any architectural taste, is one of the best designed contemporary homes with character, respect and attention to detail that currently exist in Ibiza.
At the moment, at Kelosa we have this fabulous villa for sale. To access the details you can click here
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Josep Lluis Sert i López (Barcelona 1902 -1983) is considered one of the most important architects of the 20th century and was one of the introducers of modern architecture in Spain. He was a son of a bourgeois Catalan family of textile industrialists, but socially committed and with democratic ideals.
In 1923 he entered the School of Architecture of Barcelona and was critical of the teaching methods of that time. Therefore, together with Josep Torres Clavé he founded the Association of Students of the School (1926), the embryo of the future GATCPAC (Group of Catalan Architects and Technicians for the Progress of Contemporary Architecture).Sert finished his studies in 1929 and moved to Paris, where he worked in the architectuire firm of Le Corbusier. From then on both of them maintained a close professional and academic relationship.
Paul Lester Wiener, Le Corbusier and Josep Lluís Sert
In 1930, Sert and Torres Clavé promoted the foundation of GATCPAC and in 1932 the GATEPAC (Group of Spanish Architects and Technicians for the Progress of Contemporary Architecture). In its first board of directors were the architects Rodríguez Arias, Illescas, Churruca and Alzamora, and later Subirana, A. Bonet and others joined aswell. This was the introductory group in the State of the modern movement of architecture, “the Nouveau Spirit” and the rationalistic and avant-garde tendencies. This group also edited the magazine A.C. (Documents of Contemporary Activity), published between 1931 and 1937, which constituted a platform of knowledge of the artistic expressions and diffusion of the new tendencies, aswell as architecture and urbanism, photography, visual and decorative arts, literature, gardening and furniture. GATEPAC has also been involved in the improvement of other areas, with proposals such as the construction of schools, the reduction of illiteracy and basically the modernization of the Spanish education system.
Primeras publicaciones de la revista A.C. (1931-32)
Together with Le Corbusier and Pierre Jeanneret they presented the urban planning project for the city of Barcelona, according to the modern principles of the “Functional City”, better known as Plan Macià (1933-35). Josep Lluís Sert also projected housing, school buildings, hospitals, etc., always incorporating technical, formal and rationalistic language innovations. After that achievement, the government of the Second Republic commissioned to Sert the project of the Spanish Pavilion for the International Exhibition in Paris (1937), showcase and teaching about the values that the republic preached and defended.
Arquitectos del GATEPAC
After the Civil War, during which his partner Torres Clavé died in the front, Sert was judged by a military court that disqualified him to practice professionally in Spain. For this reason, in 1939 he settled in New York, where he collaborated with Paul Lester Wiener with projects in which he used prefabricated structures for the American war administration. With Wiener and Paul Schulz he founded the technical office Town Planning Associates (TPA, 1945-1958), which carried out important consulting on projects and urban designs, at the request of the United States government, mainly for Latin American countries. In the United States, Sert gained prestige and worldwide repercussion with his works and teachings. He is the first Spanish dean of the Harvard School of Architecture (Graduate School of Design – GSD) and president of the International Congress of Modern Architecture (CIAM).
In 1953 he was appointed director of Harvard’s architecture faculty as successor to Gropius, a position he held until his retirement in 1968. He began his second American career with his partner Ronald Gourley and became one of the most prestigious architects among the US Establishment.
Left: Joan Miró and Sert. Right: Holyoke Center, Harvard University
The Ibizan Inspiration.
In Ibiza of the 1930s, Sert meets an original architecture, uncontaminated, efficient and with a beauty of simple forms and minimalist in its core. The Ibizan traditional houses appeared as an achievement of white cubic habitations with human scale, functional and almost without any decorative elements. An architecture without architects or plans, built by the peasants themselves, born with the materials provided by the land and, far from altering the landscape, these buildings merged with it. Described many times by Sert as an archaic technique that corrects mistakes and adds success until the result that it is today.
Both Sert and his fellow architects of GATEPAC found in these very ancient constructions a model to follow, a model to project the new architecture that they were developing and it was collected in the A.C. magazine.
These were lessons that Sert will never forget and the houses he builds from 1934 will incorporate multiple elements of the Ibizan Finca. Flexibility, juxtaposition of simple bodies in which repetition and difference combine, and unity of scale in composition and diaphanous interiors adapted to the unevenness of the terrain, which offer different possibilities of organization and room, will already be determinant parameters.
Sert wrote in 1934 that the Ibizan was an “architecture without style and without architects, geometric constructions simple, purely utilitarian, of an exemplary dignity, a rest for the eyes and for the spirit … all its elements have the right measure, the human measure”. Sert also sought to establish a dialogue between the rural architecture of Ibiza and some aspects of the new discipline, such as the use of the measurement system developed by Le Corbusier that gives human scale to this architecture. He wanted to perpetuate a language, a system of forms that had been in existence for centuries and adapt it to the uses and needs of the modern lifestyle.
Between 1964 and 1969, together with Rodríguez Arias, he designed and built the Can Pep Simó residential complex in Ibiza’s Cap Martinet area, which consists of 6 single-family homes and apartments known as Els Fumerals, a work in which he develops the concept he had always defended, the “contemporary equivalent of traditional forms”. As Sert himself explained: “In this urbanization we have used a measurement system devised by Le Corbusier called ‘modulor’, which is based on the golden section, a system that allows to maintain a human scale and obtain proportionality in all the compositional elements that, although they are repeated, always appear as different”. Like the Ibizan fincas, the houses of Cap Martinet are open constructions that accept extensions of many different forms.
The Documentation and Conservation of Architecture and Urbanism Foundation of the Modern Movement cataloged the urbanization of Can Pep Simó within the section ‘Modern housing’ and was declared of cultural interest in 2009.
After his visit in Ibiza in the 1960’s, Sert noted that things had changed on the island with the tourism and urban development. He then warned about the risks of landscape blending and destruction that threatened the island: “Introducing elements of imported architecture will destroy the unity and harmony that have survived over the centuries. Imposing a constant discipline of limitation to authentic forms works against Ibiza to remain what it is, something unique.” In fact, he was right. From the decade of the 1970’s the tourism development manifested itself in a large part of the local population in the forgetfulness of the old trades, among them, the secular wisdom turned in its constructions. The ancestors traditional house was changed for an urban apartment or an impersonal house and in great number the traditional houses disappeared or they turned into ruins.
After retiring, Sert was appointed professor emeritus and doctor honoris causa by the Harvard University. He also received an honorary doctorate from the University of Boston (1970) and from the Superior Technical School of Architecture of the Vallès (1981), and the Medal and Honorary Chair of Architecture Thomas Jefferson (1970), the highest professional decoration of the USA. In 1981 the Superior Council of Architects of Spain and the Generality of Catalonia awarded him with the Gold Medal of Architecture. In 1982 the Spanish government awarded him the Gold Medal for Merit in Fine Arts.
Josep Lluís Sert has been the most international Spanish architect in the 20th century. He left an indelible stamp as an outstanding theoretician, and as creator he left a legacy that remains an example to follow. Years after his death, Sert continues well present in diverse institutions, especially in the Architect School.
Sert died on March 15, 1983 in Barcelona. Due to the special significance that Ibiza had for him, he asked that his remains rest on the island and were deposited in the cemetery of Jesus, where a modest tile says ´Sert. 1928-1979´. But in this secular and humble epitaph half a century of magisterial architecture is enclosed.
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Philippe Rotthier was born in 1941. In 1964 he graduated with a diploma in architecture at La Cambre in Brussels. As a founding member, he collaborates with André Jacqmain at the Atelier d’Architecture de Genval from 1965 to 1972.
In his youth, traveled throughout the world, from the northern to the south hemisphere, also covering all types of islands: the Azores, the Canary Islands, Ireland, the Hebrides, Shetland Islands, Faroe Islands, Iceland, Greenland and the Bay of Disko. In all of them he focused on the type of constructions, their techniques and forms, which would later serve him for his studies.
In 1973, he settled in Ibiza, where he built and renovated 80 houses true to the style of the traditional architecture of Ibiza.As a result of his studies on the vernacular architecture and the traditional Ibizan way of life, in 1984 he publishes ‘Ibiza. Le palais paysan‘, a complete essay on the technical wisdom of traditional Ibizan construction, associated with mythology and the set of rituals involved. This work of observation and research is associated with his construction practice and the houses that he builds in Ibiza are an exception within the mega tourist structure of the 1970s and 80s.
1. Port of Ibiza in the 70s (Photo: Biblioteca de la Facultad de Empresa y Gestión Pública Universidad de Zaragoza CC BY 2.0/ 2. Finca ibicenca Can Frare Verd (Foto: JanManu CC BY-SA 3.0 (Changes made. Link to original)
Philippe Rotthier also played an active role in the preservation of the architectural heritage of Ibiza, mainly through the Taller d’Estudis de l’Habitat Pitius (TEHP), which he founded in 1985. He also founded the European Prize for Reconstruction of the City in 1982 and the Foundation for Architecture in Brussels in 1986.
The houses in which the Belgian architect intervenes have been built according to the traditional techniques and his conception is oriented to give them a maximum of autarky. Rotthier became a specialist in the archaic house, being at the time one of the few architects of the Balearic Islands with the knowledge and maturity to build houses that were related to a thousand-year tradition.
His personal style is practically invisible in the great majority of his works, even in those of new plant, becoming confused with simple rehabilitations of the ibicencan fincas. Despite this, its architecture seeks to bring together an archaic tradition and a modern way of life. Rotthier’s perceptible intervention is limited to a few subtle touches on the original finca, just enough to adapt it to a modern lifestyle home. These characteristic interventions of the Belgian are for example:
·Expand the size of windows and place skylights on the roof to allow greater light entry in the interior, since the original fincas tended to be somewhat dark inside.
·Increase the height of the ceilings in lower rooms, such as the bedrooms on the upper floor.
·Expand access between the rooms and open new doors to the outside, to create new terraces and open spaces, which adapts the house to a more modern Mediterranean lifestyle.
·When it came to new plant construction, the size of the rooms in general was expanded.
·The plastering of some of his houses contain pigments of ochre and earth tones, which makes the construction appear even more integrated with the landscape. Others, however, are whitened with limestone just like traditional fincas.
·In case of intervening in the roofs, it was characteristic for Rotthier to resort to techniques of cane construction in the style of the Valencian barracks, the traditional constructions of the littoral and lagoons from the area of Valencia.
Rotthiers method of architectural design and production has been the subject of numerous publications, but three stand out: Maisons sur l’île d’Ibiza (1990), Architectural Architectures Ibiza (1997) and XXX à Ibiza (2003). These three publications are significant because they are not limited to describing Rotthier’s architectural discipline, but rather explain the background of an ideological movement that has its origins in the hippie counterculture, very popular among young people in Ibiza in the 60s and 70s.
At the beginning of the seventies in Spain the decline of the dictatorship coincides with the beginning of the mass tourism industry, where liberation and repression share the same scenario. At that time, particularly in Ibiza, the new mentality of social openness coexists with the latest manifestations of traditional culture and economy.
It was in those years that Rotthier, together with his friend the photographer Philippe de Gobert, carried out activities related to the Happening, the independent publishing, in an environment that supported the individual’s awareness of his natural environment. These were artistic and social movements influenced directly or indirectly by the positions of the ideas of May ’68, Allan Watts and Mircea Eliade, which advocate the use of the renewable energies and the rejection to the dominance of the use of petroleum and its derivatives, and nuclear power. Artists, writers, architects, photographers, filmmakers, among others, have surrounded Rotthier’s path and intellectual journey since the years he came to the island.
In a way, Philippe Rotthier “flees” from his native Belgium and the profession of architect as practiced at that time, and experiences in Ibiza a profound transformation in the conception and purpose of the profession. Fascinated at once by the beauty and correctness of the rural constructions of the island, he will first analyze with a scientific and ethnographic vision the reason for that fascination and then learn its rules.
His own house in the 70’s will serve him as a laboratory and sets it on paper in one of the most complete studies that have been done of the traditional culture, habitat and rites of which it is the result. He will then put this knowledge into practice in new-build houses or virtually imperceptible interventions of ancient fincas, that would otherwise have probably been demolished by “progress” and replaced by the new concrete constructions of the 70s and 80s. At the same time, the Belgian architect devoted an increasing part of his time to disclose the qualities of the rural houses, as well as to defend the improvement of the quality of the semi-rural environments and the small towns of the island.
Rotthier went from personal fascination to social awareness. As explained in XXX à Ibiza, a different way of understanding architecture and the quality of life was needed in an environment in which, according to him, the past and the present collided in an inconsistent way, with great leaps and few continuities. In addition, the obvious border of physical space made it clear that the macro-social and economic situation imposed unsustainable pressure on the island’s soil.
Philippe Rotthier is the antagonist of the prevailing model of urban exploitation, with a strong opposition to the majority of the elements that define it. These principles were embodied, for example, in the traditional working method (which included a team of craftsmen), in preserving most of the old constructions, in a working approach established in terms of relation with the environment or in privacy as the main objective of the buildings – in contrast to the collectively significant and economically profitable.
In addition, the Belgian builds a few and slowly. However, this little testimony contains more science than the contemporary production of the 70s and 80s. According to Rotthier, “you can not save time, you can not simplify or industrialize vernacular architecture.” The Ibicencan farms arise from the land, follow their movement and merge with the landscape. Built with the hands of the peasant who works the land, from which he draws the materials for the construction, which are also those that require minimal transport and minimal transformation of the landscape.
Rotthier has also been a catalyst spreading its action along with that of many collaborators and colleagues, travelers, natives, rural and urban, old and new witnesses. Numerous students of architecture made their apprenticeship with Rotthier, who has served as a support and encouragement for creativity and the diffusion of architecture and the arts, which is embodied in the Archives of Architecture Moderne (AAM).
The Belgian architect has done an important job for the preservation of the cultural and natural heritage of Ibiza, in promoting at a key time the awareness of inhabitants and, consequently, of politicians, by divulging and warning that excessive development would inevitably lead to overexploitation, and that would mean a dramatic end to the charm and beauty of this island.
The preservation of cultural wealth and the protection of the natural space of a place directly affects the status in the medium and long term of this place, while avoiding an overdependence of mass tourism, which, after all, is the less loyal public and a few big companies truly benefits from it. The most ‘content’ growth model that Ibiza has experienced since then has proved to be more substantial, presenting today record numbers of visitors year after year and establishing itself as a world reference destination for luxury tourism. After recognizing its potential, the key to success for an island with a very small territory has been to diversify and seek to raise the status of its visitors, implementing concrete policy measures such as limiting the new construction to five-star hotels. Today, tourism is even being promoted outside of high seasons and thus reduce the pressure of seasonality.
Since 2006 Philippe Rotthier has divided his time between Ibiza, Brussels and Polynesia, where, on a motu on the island of Tahaa, he built his own house with local materials (as could not it be otherwise). In 2011 he founded the Museum of Architecture – La Loge in Brussels, dedicated to contemporary creation.
Rotthier Prize 2017
References:
Rotthier, P et Joachim, F. (1981). Ibiza. Le Palais Paysan. Eivissa: T.E.H.P./A.A.M.
Rotthier, P., Culot, M., Loze, P., Thiébaut, A., Breitman, M., Marí, B. et Mierop, C. (1984). Maisons sur l’ile d’Ibiza. Bruxelles: Archives d’Architecture Moderne
Rotthier, P., Culot, M., Marí, A., Planells, C., De Gobert, P., Marí, B. et Mierop, C. (1996). Architectures. Bruxelles: TEHP/A.A.M.
Rotthier, P. and Gobert, P. (2003). Treinta años en Ibiza, 1973-2003. [Sant Josep]: TEHP.
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Caló d’en Real is located in the municipality of San José de la Talaia, southwest of Ibiza, between Cala Moli and Cala Vedella. The complex was founded in 1974 as a project among several Belgian friends, who bought the land that formed the plateau and assigned the design to architect André Jacqmain. The initial philosophy of Caló d’en Real was to be a community of family and friends, which meant for these first residents that the design of all homes had to be conceived by the same architect, thus establishing a unique style.
Before Caló d’en Real, the Belgian architect had already authored major projects between 1960 and 1970. Thanks to this, despite being usual that the client had the final say in approving a project, Jacqmain was taken much into consideration and therefore allowed to express and develop his ideas. This was not in vain and the architect finished granting this development with its own character, a unique concept in Ibiza and probably in the world.
A good example of the works at the time were backing the name of André Jacqmain is the famous Foncolin (1955), one of the first structures with exposed frames and a supporting facade composed of prefabricated concrete elements. Considered by many one of his masterpieces, being the result of a successful collaboration with the designer and interiorist Jules Wabbes. In this work architecture and design share the aspiration of innovation and quality. Today it is considered a formal manifesto of the technical architecture of the 50s, where cutting-edge technologies were accompanied by a strong quality and sophistication of materials such as precast concrete or facades adorned with oak and bronze railings.
André Jacqmain (Brussels, 1921-2014) graduated at the Academy of Fine Arts of Belgium in 1944, where he followed the teachings of the great architect Henri Lacoste and from whom he inherited the boldness of the architectural gesture. The first phase of his career is dedicated to single-family homes, an area in which he reveals as the creator of some of the most original forms of his generation. Against the functionalist discourse that dominated at that time teaching and profession, Jacqmains work is distinguished by an aesthetic approach recognized by the execution and the high quality of the details.
In 1967 he founded the Atelier d’Architecture de Genval, whose freedom of conception will inevitably be a benchmark for generations of young architects. The Atelier Genval was also notable for having a philosophy of collaborative work, both within the team and with other firms and fields related to architecture; a reflection of Jacqmain himself and by these means delivered many buildings, representative of postmodernism in the 1980s and 1990s.
Around 1974 Jacqmain projected Caló d’en Real in Ibiza, where he also designed most of the houses. The residential complex consists of about 120 single-family homes, most situated on terrain inclination and directed towards west. Caló d’en Real is situated on a 18,000 m2 plateau, surrounded by sea and with a dominant vegetation of junipers, currently classified as green area. One can say that this plateau is a strategic location, dominated by the sea and with a great prominence of the sunsets, an ideal place for an imaginative, innovative and daring architecture, such as the Brussels architects.
Caló d’en Real
Most of the buildings are located in first and second line to the sea, with a design that is characterized by the breakdown of the volumes and the slight play of colours and shadows. These homes demonstrate a visual control to the sea and the advantage of outdoor spaces, where arcades and pillars are used to support sails that create the shades.
The interiors are simple, with spaces that demonstrate minimalism and cubism alike, a non-purist functionalism looking towards aesthetics. These types of spaces are considered ideal to combine different styles, volumes and abundance of decorative elements. Similarly, these type of interiors are versatile and allow a predominantly or more discreet personal decoration, highlighting the original architectural elements. They are dominated by large, airy spaces and access rooms, while a smaller area is granted to the bedrooms; although there are considerable variations in some houses, that depended on behalf of each client.
André Jacqmain has put all his inventiveness to the use of light, thanks to his characteristic attention to detail and to the sites specific conditions. The front of the house usually opens to a large terrace facing the extensive sea views and sunsets. Some properties have the most spectacular location, bordering the cliff with a path leading a few meters from the house to the rocks by the sea.
Several architectural elements repeated in all buildings provide Caló d’en Real with an image and character. The Belgian architect’s imagination is admirable, noting the successful occupation of space and the harmonious relationship between interior and exterior. Some larger homes have a distribution alternating exterior and interior spaces, usually between living spaces and bedrooms, which are connected through corridors or rear terraces, sheltered from the wind.
We can also see an increase in depth in perspective, with arches that are isolated from the established plans and create a kind of double facade over the buildings structure. The arches and columns that separate the first facade in turn act as a decorative element and further enhance the play of light and shadow.
From a formal point of view the design could be defined as the exploration of a modern version of the Kasbah, the citadel of Algiers and one of the great references of the concept of ‘Mediterranean architecture’. The homes are defined by complex volumes, with a cubist style that in some point reminds of the Bauhaus discipline. However, the original colors of these houses reveal an African architecture style, which in turn represent one of the origins of cubism. It has also received somewhat more subjective descriptions, defined in some articles as “a novel without a definite end”, “a long continuous history, designed to represent each day a different thread” or as “an organic whole dedicated to beauty”.
An interesting combination of concepts and, at the same time, although in all homes a series of characteristic architectural elements are repeated, designs experience some variations both in distribution and in style. Jacqmain demonstrates pragmatism at adapting the request of each client with the overall style of the whole, as these particular desires, size and position of each house can vary considerably.
Having been a residential complex of Belgian family and friends for the first two decades, over time the second property sales has turned Caló d’en Real in a more cosmopolitan community. In addition to Belgians, today we can find, among others, German, Italian, Swiss, French and American residents, and its considered one of the most exclusive neighborhoods of Ibiza.
The work of André Jacqmain covers at least 60 years, through different periods and various streams. In Belgium he has been one of the representative architects of the innovative architecture of the second half of the twentieth century; apart from the Foncolin, he is recognized by works like the Urvati house, buildings at the universities of Liege and Leuven, the Belgian Pavilion at the Expo’70 in Osaka and, later, the headquarters of the European Parliament in Brussels, in collaboration with other architects.
Jacqmain explored the limits of modernism and has also been a honest and critic voice when, for example, he stated that technological change led to a depletion of the imagination, that the buildings ended up being the same in all places, and when he expressed concern that current architects didn’t know how to draw. Jacqmain style was defined by his deep faith in imagination, a gift that was attributed to him since childhood, and today he is considered an architect who has marked an era.
Sources:
Enciclopèdia d’Eivissa i Formentera. Entrada: Jacqmain, André. Enciclopèdia del Consell d’Eivissa [en linea]. Vol. XI (2012). [fecha de consulta: 8 de febrero de 2016]
Barluenga Badiola, Gonzalo (2013). Tema 4: Fachadas. Introducción a la construcción. Curso 2013-2014. Escuela Técnica Superior de Arquitectura. Universidad de Alcalá: Madrid. [fecha de consulta: 10 de febrero de 2016]
Duplat, Guy (2004). L’imaginaire d’André Jacqmain. Journal La Libre. LaLibre: Bruxelles. [fecha de consulta: 10 de febrero de 2016]
Calo d’en Real Owners Community Website. About Calo d’en Real. [fecha de consulta: 10 de febrero de 2016]
Kunstbus. André Jacqmain. [fecha de consulta: 10 de febrero de 2016]
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Rolph Blakstad (Vancouver, 1929) developed an extensive career before moving to Ibiza. At age 21 he studied art, medieval and Renaissance architecture in Florence, before his visit to Morocco, where he was inspired by his research on traditional Islamic architecture, craft design and subsequently the origins of Ibizan architecture, his most extensive research work. Before arriving in Ibiza, the Canadian architect worked in theater and tv as an actor, operator and scenographer, he also made documentaries on wildlife in Africa and worked as a draftsman of archaeological monuments for the British government. After settling in Ibiza, he was to found Blakstad Design Consultants in 1967.
Rolph and his wife Mary first came to Ibiza in 1956, when the ship from Denia made a stopover en route to Mallorca. However, instead of following the initial travel plan, the White Island captivated them so they remained there until the end of their days. At that time the island lacked many modern luxuries to which they had been accustomed, but found a relaxed, dignified atmosphere and Ibiza had the deep cultural roots that both craved.Blakstads hunger for knowledge and interest in the ancient culture did not stop after establishing in Ibiza, quite the opposite. Rolph was not only was interested in architecture; his notes and studies extend into other areas like archeology, history, ethnology and even genetics.
After settling down in Ibiza and for the next five decades, Blakstad studied Ibizan constructions and especially Ses Feixes, which he initially related to ancient Egypt. His notes and drawings from the fields, which he drew in detail, allowed documenting how these wetlands were in the fifties and the evolution towards subsequent degradation. The Canadian architect talked to builders and took notes in order to preserve these traditional pieces and to rebuild a few returning them to their original state.
Representation of Ses Feixes in antiquity / Exposition: MOISÉS COPA
His research led him to develop the thesis that Ibizan country houses had their origin in the rectilinear homes of the Neolithic in the Near East. Blakstad traveled halfway around the world looking for architectural connections to demonstrate the roots of the Ibizan finca, leading him to the conclusion that it was a thousand year old architectural style. Despite successive invasions and a variety of civilizations that have populated Ibiza and Formentera, Blakstad said the architecture of the islands is the faithful replica of the Phoenician (or Carthaginian) constructions.
According to his theory, the preservation of these ancient buildings was related to the indifference of the leaders of the various invaders to the peasantry and their way of life, as to maintain the control over the island it was enough for these to stay confined in the citadel of Dalt Vila, by so the material essence of their culture was not changed nor Roman nor Byzantine nor Arabs.
To Blakstad there was no doubt that the original architecture of Palestine was the same as Ibiza, i.e., the Phoenician. Blakstad repeatedly described the Ibicencan as “people of Canaan”, since for him the roots were the same. His research allowed to find in Syria, Lebanon and Palestine archaeological remains corresponded with Ibiza rural fincas, whose construction also used savin junipers, among other characteristic elements of these ancient buildings. Blakstad even offered himself to the Palestinians to regain their orginal architecture, when he crossed the border separating Israel and Jordan in 1993, after the peace agreement between Rabin and Arafat.
After traveling around the eastern Mediterranean tracing similarities in the constructions, Blakstad reflected the results of comparative analysis in two publications: the ‘Guía de la Architectura de Ibiza y Formentera’ (in collaboration with the architect Elías Torres, 1980), and in ‘La casa eivissenca. Claus d’una tradició mil·lenària’ (published by Rolph Blakstad in 2013).
His works include all the information gathered by Blakstad to demonstrate the similarities of Ibizan architecture and customs with those of different places in the Middle East who share Phoenician and Carthaginian roots. His travels and his texts have sought to support the thesis that traditional Ibizan architecture stems from the occupation of the Phoenicians and Carthaginians and buildings had hardly changed in more than two millennia of existence.
Rolph Blakstad’s passion for Ibiza’s rural architecture, its origins and ancestral customs, he devoted much of his life to a complete historical-typological study. However, although he was the son of an architect, he never graduated in architecture even though this was his great passion. For this reason, as his son Rolf explains, Blakstad was for long a discordant voice, but nowadays more and more experts agree with his theories.
Once the granddaughter of the famous architect Walter Gropius, founder of the Bauhaus school, asked him, “Tell me, Mr. Blakstad, what is, your kind of architecture?” He replied, “I look for the baby that your grandfather let out.”
The interest and discipline that Rolph has pursued also differ from those of his friend the German architect, Erwin Broner. Broner, who lived in Ibiza since 1936, was part of the Bauhaus since before World War II, and approched Ibizan architecture with Bauhaus design concepts and modern materials. The Blakstad style, however, could be described as a continuation to Ibizan traditional contruction, trying to “retain the value of the valuable in cultural tradition, which can be applied to modern life.” It is, Rolph’s approach could not have been more different from that of his colleague Erwin.
In some of his works can be seen in a sought the roots of oriental aesthetics, while for others he had chosen to highlight the style of Ibizan architecture:
The interior designs of the Canadian architect were conceived to improve the disadvantages of the traditional finca. That meant, above all, an increase of light and space:
In 1967 Rolph Blakstad founded Blakstad Design Consultants. His studies became the basis of his research, design and construction for over 40 years. Rolph extensively studied Ibizan architecture, when it was still an ancient tradition who lived with the peasants builders, whose rules were transmitted orally from father to son. Similarly, today his sons Rolf and Nial run the business representing the family tradition, after their father passed away in 2012. A living tradition that adapts to changing circumstances, but which is still based on the lines and forms of the local construction of the island, from ancient tradition. The works of Blakstad Design Consultants have been adapted to the needs and technologies dictated by the modern lifestyle, but always faithful, from the architectural point of view, to the historical conditions that their father so much had been researching, studying and documenting.
Rolf and Nial Blakstad are still working on the restoration of Ibizan fincas and building new houses. Today, the illustrations of their studies and their implementations have a major impact on green building practices and environment integrated construction.
One can say that the name Blakstad in Ibiza is synonymous with beautiful and distinctive designs, strongly influenced by the historical architectural bases from the island, combined with an authentic style of personal interpretation. An air of comfort can be perceived by visiting any villa built by Blakstad, probably because of the intellectual, emotional and intuitive approach to their work.
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In the middle of the picturesque Atzaró Valley is “Los Amigos”, a nearly 600 m2 villa built by Romano Arquitectos and decorated to the smallest detail by Parisian designer Barbara Boccara, co-founder of the notorious fashion brand Ba&sh. This house is truly unique in that it shows us a curious mix of contemporary styles; Industrial exterior and interior design combined with a bohemian touch, featuring French as well as Californian influences, all surrounded by the most characteristic rustic landscape of Ibiza.
The Atzaró Valley connects Santa Eulalia with the northeast mountains and the towns of San Lorenzo and San Carlos. This valley has rised in popularity, especially in the last two decades, due to a trend towards the alternative environment of the interior of the island, surrounded by rustic nature in contrast to the popularity of the coast. The valley provides a laid-back lifestyle without losing, on the other end, a certain proximity to the “urban bustle” that Santa Eulalia and its nearby coastline offers. Furthermore, the Hotel Rural Atzaró has contributed an important part to this popularity, as well as being a luxury countryside hotel, it is a restaurant and popular place for characteristic events such as exhibitions, markets and numerous high-end weddings.
Barbara Boccara can show off a great success story, since after only 15 years of existence her gypset brand Ba&sh already has 170 stores spread all over the world. Barbara knows Ibiza for the first time at 18 years old and since then she has not stopped visiting the island. She says that when she decided to buy a house in Ibiza her personal preference was an Ibicencan finca, while her husband and children were inclined towards something modern. However, with this house it was clear from the first moment, that both parties would be satisfied: «Raw materials, concrete and wood, married by glass».
This house, built on one level, is a reflection of Barbara Boccara’s creative and eclectic attitude. The pureness of the Industrial style adds character and spaciousness, while a Nordic and Boho-chic interior design infuses a welcoming, bright and dynamic environment, as well as presenting organic and unusual shapes seen in furniture, accessories and lighting. In a way, it is reminiscent of the contemporary California architecture, but with Mediterranean touches.
In the other hand, the characteristic elements of the Industrial style are the walls and ceilings of concrete without plastering, simple design lighting with exposed sconces, light wood panels attached on walls and furniture made of thick cut raw wood. In addition, there is a clear predominance of its main colours: white, gray, black and brown.
The decoration also shows a clear attraction to raw materials, but with a more ancient approach. Throughout the house they are present in fabrics such as linens, cottons and burlap, which returns a more artisan and warm touch to an Industrial style, which has a certain tendency towards the inert or lifeless. On the other hand, the huge glass doors with ‘invisible’ frames, that surround the entire house, flood the interiors with natural light and give the illusion of being outdoors, just two steps from the exuberant Ibizan nature.
The exterior of Los Amigos is an extension of the interior. As Boccara comments, the idea was to “respect the carefree spirit of the island”: 1.2-meter-deep sofas, hammocks, cushions on the ground. Candles are everywhere, on tables, shelves, and lanterns on the floor, providing the setting for a certain romance at sunset. In terms of decoration there is a certain French indifference in how art objects are distributed, with local and exotic accessories: a mixture of the Mediterranean and Asia.
Among the furnishings is a personal predilection for the Caravane brand, such as the Holi sofa and armchair on the terrace or the Sirius beds. We also find a large Up model lounge sofa by Saba Italia, a Vieques XS bathtub by Agape (designed by Patricia Urquiola) and an iconic Ergofocus fireplace (from the Focus brand) in the master bedroom. Besides that, the remaining furnishings are a combination of Italian, French and local designer brands.
In the living room, the contrast between a massive rustic wooden table, metal chairs and contemporary black lamps with eclectic shapes. Once again, its clear to see how the same three concepts are combined: Industrial minimalism, the most artisan Boho-chic and a creative personal touch. These three uneven concepts combine here in perfect harmony, making this an unconventionally cozy modern home. Boccara says that her priority to this home was an atmosphere of relaxation and comfort, no matter where you are.
The Villa Los Amigos is a combination of two styles that originally came opposed to each other and that follow one another in the timeline of history: the Industrial style, with its modern materials and standardized forms; and the Artisan, which represents the ancestral production prior to the machines – handcrafted and uneven. Although many artisanal-looking products today come from industrial production, they still produce a warm atmosphere that the industrial/ minimalist styles fall short of. Boccara’s creativity has managed to combine the two styles in way as if they had always been together.
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Between the northwest mountains of Ibiza, there is a stately house on top of a hill in the middle of one of the most remote and peaceful places on the island. This unique property, surrounded by an almost untouched nature, offers panoramic views in all directions extending through the mountains to the sea.
To reach the property there is a drive along an over two kilometers long country road, which leads to the country estate through the mountainous landscape and shows along most of its route the place’s impressive panoramic views. Arriving at destination, a winding asphalt access rises the 265 meters high private hill and leads us to the house, again showing spectacular views.
Once reaching the vicinity of the house, the garden is presented as one of the remarkable aspects of this property, apart from its already existing natural landscape value. The garden consists mainly of a large number of hundred and thousand year old olive trees, of four different varieties, brought here from as far as Portugal and southern Spain. Its owner told us that he himself chose each of these trees and that transportation to this place was a real odyssey. He also tells us that at first, because of the long journey and Ibiza’s humid climate, olive trees needed some time to adapt to the new floor. Today the majestic presence of these ancient olive trees can be equated to natural monuments, due to its size, its age and the artistic beauty of its organic forms.
Besides the olive trees, which actually makes the garden a place so spectacular is the way in which it was conceived. Ancient Terraces have been raised and filled to create platforms in a linear point with the house. The house’s surroundings are literally a lookout, as a kind of platform that rises above the rest of the landscape, which in turn creates a panoramic background in contrast to the flat and lawn covered ground. The natural environment of the house is exuberant in terms of terrain and vegetation, with views that extend far beyond their own 6 hectares of land.
The gardens merge with the hill and, at the same time, the hill is conceived as a garden. The ancient stone walls extend from the vicinity of the house to the bottom of the hill, forming the characteristic banks of terraces. Both the planted as the previously existing vegetation, are native or of Mediterranean traits and therefore perfectly adapted to this environment.
In 2010 there was a major fire in the whole area, which left the pine forest that covered most of the hills burnt. However, in only a few years the landscape of ashes has become into a fresh growth of grass, herb and shrub vegetation, featuring a colorful picturesque terrain.
Previously at this site there was a 200 years old finca built literally on top of the hill. Thanks to this rarity, it was possible to make a recovery and expansion project in a place like this, as in Ibiza the highest points of hills and mountains are sites banned for construction for several decades already, since it involves a greater visual impact. In fact, today the whole area is protected by a combination of forest and rustic land, grades where no new buildings or extensions to existing structures are allowed.
This elegant house, conceived as a detached manor house, combines the overall rustical with spacious sizes and subtle modern elements. The architecture respects the fundamental lines marked by the old Ibizan finca that existed previously. In fact, you can still see the original appearance of this ancientfinca on the west facade, since virtually intact, it has become part of the main house. Thanks to this architectural heritage, the residence benefits from the thermal efficiency of the Ibizan fincas, which resides on the thick walls that surround it.
The house consists of large main spaces and all the rooms are connected inside the same building. In the living room, dining room, kitchen and master bedroom outdoor light inputs have been increased thanks to large windows and skylights in the high ceilings. However, the other 4 bedrooms are of a more traditional style, same as the original Ibizan finca, with small windows, ceilings with juniper beams and antique wood furniture. These 4 bedrooms have a different atmosphere, less bright, but not any less casy for that reason. It is also a rustic and cozy atmosphere that fireplaces are found in almost every room of the house: in the living room, the kitchen, the dining room and 3 more bedrooms.
At the rear of the house, bordering the kitchen and the living room, there is a courtyard surrounded by arches with thick glass windows in the arches that protect it from the winds. This outdoor patio still is to be completely finished, with the elements that the new owner decide; for example, choosing a floor, some outdoor furniture and some more plants could convert this courtyard into a beautiful winter terrace sheltered from the frequent winds.
The volumes of the house are the result of successive enlargements where each was “supported” by the previous one. The result of this kind of growth, same as the traditional buildings, is a structure perfectly integrated in the site.
All in all, a property like this in Ibiza is a truly unique object, not just for being on top of a hill with its 360° views, but also by the natural area that surrounds it and the elegant style of this modern Ibizan finca. As if that weren’t enough, during the summer months sunsets over the sea and sunrises on the other horizon make this site an even more delightful. This is a place that conveys a sense of a certain magic, where one breathes tranquility out of the total silence and the beautiful views of this place.
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Bruno Erpicum studied architecture at the ISASLB (Institute of Architecture Saint Luc Brussels) and in 2001 he created his current Atelier d’Architecture Bruno Erpicum & Partners. Erpicum has over 25 years of experience in architecture, during which he has won several awards including the Architectural BIFSA Awards (South Africa), the Eric Architectural LION Awards (UK), Prix de l’Urbanisme2004 (Belgium), the BigMat International Architecture Prize (Luxembourg) and the International Space Design Awards Idea-Tops (China). Among its projects are mainly large residence villas, but also designs commercial buildings, museums, galleries and offices. His works can be found in many countries: Spain, Belgium, France, UK, Germany, Netherlands, Italy, Greece, Portugal, South Africa, Namibia, Switzerland, United States, Peru and in a number of several countries of the Caribbean.
Bruno Erpicums architectural discipline is fundamentally minimalist and austere, although the size of space are usually considerably large. The particular style of Erpicum can receive many adjectives as personal interpretations may be varied. His own statements allows us to get closer to the objective reality represented by these works.
According to Erpicum, architecture should “disappear” and be as simple as possible to let the natural environment express itself and dominate [1]. The environmental context determines the essence of each project using materials found in the area and taking into account the conditions these materials are exposed to, their maintenance and installation conditions [2]. Marked by modesty and perfectly integrated into its natural environment, some works Erpicum are almost invisible in the landscape.
The environmental awareness is of first order. The buildings are established taking into account existing landscape elements. For example, the exteriors of houses near the sea hosts coast flora of the area, more adapted to the environment and reduce a possible visual impact. You can also say that the process and the design of his works are environmentally friendly, as it attempts to exploit the available resources of the land and avoid large transports.
In the homes of the Belgian architect concrete dominates and technical skills are hidden in the building, inspiring serenity and silence. Erpicum explains, unlike what many think, concrete is a natural material composed of sand and gravel, that can withstand the power of the elements, maintaining its character [3].
A peculiarity of Erpicum is the use of architectural elements to hide the main overlooking views of the exterior at entering the house; according to Erpicum, “so that visitors discover the magic of the place as late as possible” [4] In addition, a house shouldn’t be oriented only to a single view, but be open to all horizons. Like, for example, a villa on the coast need rooms turning their back to the sea, in order to allow spaces that are more introverted and calm the view [5].
Erpicums architecture can also be considered as a meticulous cubist style, meaning that nothing that is seen in his works is there just because and many elements are due to an intention or adapted to the conditions of the previously existing terrain (or structure).
One of his works in Ibiza is Can Durban, a fundamentally minimalist work that has been approached to the Ibizan traditional finca style, in an environment of ancient fields with old stone walls. The owner asked Erpicum to design his home into a modern version of an Ibizan country estate within the framework of these centenarian fields. In this work minimalism is found in the large windows, offering open views to the landscape, or in the airy interiors so characteristic of the style. Again, Erpicum has used previously existing elements: the patio is mildly sunken taking advantage of the unevenness of the terrain, which ensures that even with strong winds it remains a sheltered place, and the pool was built using the old pylon. Can Durban shows us combinations of several natural stone walls next to the concrete breathes, and it seems to have a warmer atmosphere to which the Belgian architect has accustomed us.
Bruno Erpicum is also the author of Infinity House, a more minimalistic work than the previous one. In this triangular volume built villa white extends all over the space, both exterior and interior, and governed by rectilinear forms that draw scenes in large horizontal spaces and towering heights. It’s a sign of serene and elegant minimalism, occupying a position in the landscape that faces away from the other houses and allows to open the horizon, making the most of what the place offers. The interior seems to merge into the landscape through large glass areas that allow a large influx of light and the prominence of the intense blue of the Mediterranean. Due to the dominance of the snowy white walls, throughout the day the sun’s movement causes changes in light and shadows acting on the atmosphere of the place.
The architecture of Bruno Erpicum is devoid of decorative attributes. However, when it is understood that the works are conceived with a predisposition to absorb the beauty offered by the site, it is understood that certain grounds are established to the home to be shown as something special, out of the ordinary. Every work is unique and yet you don’t have to be an insider to recognize his style. Entering the house, its easy to realize that the Belgian is a meticulous architect that finds an idea and an intention for every single room in the house.
The Belgian architect stands out in his profession for many reasons, enjoying a reputation and therefore receives a large demand for projects around the world. Ibiza is one of the places where more projects have been built. Through our website, we present some of the villas by architect Bruno Erpicum.
Erpicums original quotes:
[1] “The architecture should disappear and be as simple as possible to let nature express itself and dominate“
[2] “We must use friendly materials, create with local products while remaining attentive to the installation and maintenance conditions required by the geographical situation“
[3] “Contrary to what many believe, concrete is a natural material made up of sand and gravel, capable of dealing with the power of the elements while maintaining its character.”
[4] “Hide the first view so that the visitor can discover the magic of the place as late as possible“
[5] “You have to create rooms that turn their backs to the sea, spaces that are more introverted to calm the view“
Atelier d’Architecture Bruno Erpicum & Partners (2013). Recuperado el 2 de octubre de 2015, de http://aabe.be/
SANJU, Maria. Bruno Erpicum reinterpreta una vivienda payesa. Decoesfera. 5 de agosto de 2013. [fecha de consulta: 3 de octubre de 2015]
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At a green hillside and facing the tranquility of the valley, we find a real ancient Ibizan finca with the foundations of an original architecture, enhanced by a contemporary gesture, just enough to preserve the original spirit and adapting it to modern needs and style. Among rigorous lines and attention to detail, perfect simplicity contrasts in a visual game with creativity.
Can Basso is a country house more than 300 years old, which reform in 2010 was the work of Francis Dimmers and Ibizan architect Angela Molina. The project was based on preserving the original features of the traditional Ibizan rural house and it has had much sense to have proceeded in this way:
Much of the water consumed in the home is due to the conservation of the different storage modules, such as the traditional architectural feature of collecting rain water: the water cistern and the outdoor aljibe. The Façade and the front door are facing south to north, in this way cross ventilation cools the house just as a natural air conditioning. This adds up to the characteristic thick walls of the Ibizan finca that are very effective at isolating the summer heat and the cold in winter. This is an ancient architectural method that has proven more effective in thermic insulation than many of the modern features, in addition to savings in power consumption.
Roofs in Can Basso were rebuilt, former stables fully renovated and converted into living spaces. At first glance, it appears as a completely original finca, however, entering the rear terrace or the interior of the house a closer inspection allows us to realize that many of the walls are completely new, or that elements like the skylights, the lighting, the open kitchen and the furniture belong to an interior design with a modern character, carefully executed and with attention paid to every detail.
Modern elements in Can Basso are subtly present, almost hidden in built-in wardrobes, the Bulthaup kitchen, Zanotta furniture, Agape baths or in the lighting by Ingo Maurer and Tom Dixon. These are some of the elements that contribute to the modern interior design. One thing is certain, the longer you stay in the property, the more you start to realize that this Ibizan finca ‘of the new era’ was a project carried out by perfectionists with a clear vocation.
The house has five double bedrooms and one single bedroom, all with their own bathrooms; there are also a traditional room used as a dining room, an office, a living room and a semi open kitchen, both with access to the front terrace and the swimming pool. The property has 392 m² (4220 ft²) of housing and a plot of 25.000 m² (269.098 ft²), from where you can watch the sunsets in the background of the picturesque Morna Valley.
The two bedrooms in separate units from the main house were ancient stables, now converted into bright and cosy spaces. Each has its own bathroom, with prevailing decorative elements that remind of what it was before. The other two bedrooms in the main house at first glance seem completely new, but the bathrooms with natural stone walls make them harmonise again with the overall style of Can Basso.
We find noble and robust materials throughout the property, respecting local traditions and work processes. The ceilings of the house often show juniper trunks, characteristic feature of the traditional Ibizan finca. Windows and skylights that are placed along the country estate Can Basso play delicately with the natural light, thus correcting the main deficiency that these old buildings use to have: external light and the resulting sense of space. We can also observe that the traditional based style is perfectly complemented with modern decorative details, inspired by vintage, like the hanging lamps, the exposed bulbs or the industrial style sinks and bathtubs. The project represents a successful combination of extremes, between the old and traditional and the modern and innovative.
Can Basso is just minutes away from the center of Santa Eulalia and its beaches, but it feels like is being more secluded, as the surrounding countryside and neighboring mountain give the impression of the most isolated places on the island. This is an ideal place to experience a vacation surrounded by tranquility, nature and the beauty of experiencing first hand the heritage of Ibiza.
The garden surrounding the finca is another point to consider. As could not be otherwise, it is a combination of native and fruit trees characteristic to the island. The Garden vegetation found in Can Basso is the same of an Ibizan rural house, as if it was a crop field but somewhat more ‘aesthetic’ and well mantained. The pool, which at times can seem a natural pond, is enclosed by a tidy and cared lawn and the concrete framing minimalist lines and the colorful Ibizan countryside of predominantly red soil. From the pool area and the terraces we can see the unspoiled rural Ibiza and enjoy the serenity of its atmosphere, whilst all design in this house seems to have been conceived in favor of a harmony of the place.
There are only few projects on the island that have achieved this, not only by the respect which the house was reformed with, but also by the orientation of their living spaces and the way they enlightened the potential of the environment. In the coming years we will see if Can Basso sets a precedent for a new trend in Ibiza, but we should have no doubt there are many options for that to happen.
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Up to only 3 years ago, Cala Vadella was stuck in a crisis since the late 90s, when the entire neighborhood was dragged inexorably down to a state of lack in hotel occupancy, suspension of development works, local neglect, empty houses and an entire resort invaded by squatters. In autumn 2009, the hotel occupancy rates, turnover of restaurants and retail sales were still reporting widespread losses of ten percent. In Ibiza that means a awful unprecedented result.
Shopkeepers and neighbours explain that Cala Vedella used to be a glamorous place in the 80s and 90s, but at some point the neighborhood and the area in general had lost its luster. The results of decades of mismanagement became evident: dilapidated ruins of construction projects, standstill works indefinitely, numerous empty houses, decomposing traffic signs, salty tap water, among others. A good example was the planned mall that had to be build along the cliffs at the beach; but when more than a decade of the cliff collapsed, the construction company responsible had to shore up the cliff with hundreds of steel beams, to avoid further worsening. The result is anything but pretty, but didn’t seem to matter much.
Neighbours and people very familiar with the area tell broadly the same story. When tourism began to arrive to Ibiza, in the late 60s, Cala Vadella was a dream: a beach bar, a couple of thatched umbrellas and a handful of houses. In the 70s the first club was built and soon after came the other four holiday resorts. A decade later, German tourism agencies lined up to get a part of the vibrant clubs.
It was a simple business concept and promised good rewards. Investors built a complex and then sold the houses and apartments to private customers, who agreed to rent them to travel agencies during the summer season. In the 80s and early 90s, when business was booming, a combination of all-inclusive vacation packages and entertainment at all hours filled thousands of beds. It was the model to follow.
Cala Vadella beach in summer. Photos: Kelosa | Ibiza Selected Properties. (CC BY 2.0)
However, at some stage this type of tourism that did flourish Cala Vedella ran out of momentum. In 2009 only two German agencies remained still operating with this concept and only in one of the clubs, as all other contracts had been dissolved. One neighbour explains that at that time the Germans controlled almost all the business of the clubs, and in 2009 their share had already fallen 70%.
It is clear that particularly businesses operating with the concept of vacation club had been the ones who suffered most, on the one hand, from the general fall of German tourism that was already happening in Ibiza since the late 90’s, on the other hand, and even more significant, under the rise of online travel agencies (OTAs) which was a heavy blow for tour operators around the world, which were the ones who supplied almost exclusively these kind of clubs with their customers.
Cala Vadella beach in winter. Photo: Kelosa | Ibiza Selected Properties. (CC BY 2.0)
The symbol of the fall of Cala Vedella clearly represented the former Club Robinson. The place where families once spent the best weeks of the year in recliners at the poolside, in 2009 was a squalid ruin where anarchy seemed to rule: roads with slabs of asphalt that had split, without streetlights, houses undertaken by squatters, abandoned cars stripped of their wheels and other debris lodged in the gardens and patios. Its a peculiar contrast when this former resort with idyllic views to the famous Es Vedra, just ten years later was ruled by such a state of neglect. One just had to take a walk through the old Club Robinson to feel that was not without its attractions – although a few years ago these became of a rather macabre nature.
All this seems to describe a depressed area. However, in the last three or four years a great number of developments and projects are happening on the west coast and in Cala Vadella, indicating a change of dynamics and that the worst already happened. Even the Club Robinson seems to be undergoing changes, with new owners of the investor kind that probably will actively work on improving the situation of the old complex, as the holiday rental villas surrounding the club already experience good occupancy levels.
In fact, the place still maintains a beautiful landscape: a cove with a sandy beach, surrounded by rugged coastline topography, green forests and mountains. The neighborhood of Cala Vadella has never ceased to be welcoming; a friendly village with a quiet and homely atmosphere, like a kind of secluded retreat even in Ibiza’s busy summer months. The pace is almost purely residential, but it also offers the activities that many look for on the island: beach, diving, sea side restaurants and bars on the beach. The nightlife is very limited, but many choose to live Cala Vadella because of this tranquility.
Currently, property prices in Cala Vadella are cheaper than average in Ibiza. Attractive prices are attracting more investors and private buyers to the area. In many of these cases the investment is dedicated to the reform of houses, which plan to sell soon after to private buyers, which are also often intended for holiday rental. This is a phenomenon that has increased throughout Ibiza in the last decade: houses built in the 70s, 80s or 90s are transformed into modern versions, where sizes and design are often modified. For these cases, a good position of the house is considered, overlooking the sea or mountains, but this in Cala Vadella is relatively easy for its rugged topography and orientation to the sea. In most cases land in this area has a good or very good position in relation to the view.
Regarding the surroundings, if you continue along the coast south from Cala Vadella, less than 2 minutes away are Cala Carbo, Cala d’Hort and present at all times, the emblematic island of Es Vedra, natural park and consolidated point of interest. This is possibly the most photographed place in Ibiza for its spectacular scenery and natural beauty.
To the other direction, on the coast road north lies the prestigious urbanization Calo d’en Real, followed by Cala Moli and a group of houses on waterfront facing the sea, both very popular residence places for their 180º seaviews and sunsets. By leaving Cala Moli, next is Cala Tarida, the largest beach of the west coast and lately one of the epicenters of quality tourism on the island. Over the last few years, Cala Tarida has been developing towards high-end tourism, led by the Insotel Group, which has launched in the last years several five star hotels and resorts (‘Sensatori‘), significantly improving the reputation of the area and turning it into a landmark destination of luxury in Ibiza. Several first class restaurants on the beach, a beach club and, for the future, a project of a new urbanization of 50 luxury homes. Cala Codolar, which is practically the next stretch of coastline, is building another resort of luxury vacation villas called ‘7 Pines‘, followed by the famous spot Cala Conta where the construction of the eco-friendly 33 villas urbanization (The Calaconta Collection) is being completed, another high-end residential development on the west coast.
Residential and tourist spots on the west coast of Ibiza, like Cala Vadella, actually never lost its charm, despite an accelerated urban development in the past. Today, with increasingly stringent regulations on building permits, landscape conservation is ensured of an area that has the potential to become again a reference in Ibiza. Although we predict that this evolution will occur at a slower pace this time, but in turn based on a growth model certainly more substantial than the last.
Its possible that the pictures and the content reaches us through different channels and is sometimes difficult to know the author or the original source of the content. Whenever possible we added the author. If you are the author of any content (image, video, photography, text, etc.) and do not appear properly credited, please contact us and we will name you as an author. If you show up in a picture and think it impugns the honor or privacy of someone we can tell us and it will be withdrawn.
Kelosa Blog editors are not responsible for the opinions or comments made by others, these being the sole responsibility of their authors. Although your comment immediately appears in Kelosa Blog we reserve the right to delete (in case of using swear words, insults or disrespect of any kind) and editing (to make it more readable) or undermines the integrity of the site.
The traditional rural house of Ibiza, also known as Ibizan finca, has been an object of study and fascination by many important people of several fields over time. What these first visitors found was an architecture that had hardly changed over the centuries, dated back to ancient origins. This was mainly because Ibiza, during most of its history, was a culturally and economically isolated society that had to use local resources and knowledge, the only ones available. The method of construction of this house came from a popular wisdom that was transmitted from generation to generation, pursuing subsistence and practicality. It was this practicality, together with simplicity, the functionality of each element and its integration into the landscape, which inspired about this unique archaic architecture and attracted the first visitors to this ‘remote island’ in the 1930s.
Among the architects who were drawn by the Ibizan farm house are Germán Rodríguez Arias or Josep Lluis Sert, from the GATCPAC group, or Erwin Broner, from the Bauhaus school. It also attracted well-known characters from other fields such as the Dadaist Raoul Hausmann, artist and photographer, who made a lot of photographs of these constructions, or the philosopher Walter Benjamin, writer and literary critic, who delved into his aesthetic theory attracted by the austerity and beauty of the Ibizan finca. Some of them spreaded this archaic architecture style in international exhibitions and, although the Spanish Civil War (1936-39) and the arrival of fascism interrupt the process, years later more scholars and artists continuously revisited and settled in Ibiza, motivated by this same fascination.
The Ibizan country house is defined by a building type of thick walls, composed of quadrangular modules and horizontal ceilings supported by wooden beams. It is a simple and sober architecture, which begins adding independent cubic modules that are articulated about a transverse rectangular space at the entrance, the main hall or porxo; each module has its own function and animal corrals are always separated from the main body. The whole set shows a fully functional home, often entirely absent of decorative elements, growing in relation to the needs of expanding the family or labour of the lands. It is also a continuously growing home, that at all stages keeps the appearance of a finished building.
Left to right: 1) Can Toni Martina, in St. Carles de Peralta. 2) Can Vicent Prats, in St. Antoni de Portmany. 3+4) General trendof enlargement
No Ibizan finca is ever the same as the other, what is common among houses prior to the industrial era, but all fincas have certain features in common that define them as an own architecture style. These general features of the original finca are:
Materials. Built by the farmer, it is essentially made of materials found in the same place: dry stone, juniper beams for the roof, sand, clay and marine plants.
Implantation. The house is ideally located on a high point of the side of a hill with rocks as natural foundation, taking advantage of landscape features and slope without overflowing on ground favorable to the cultivation.
Orientation. The entrance is almost always facing south, leaving behind the mountain, protected from the north winds and thus continuously receiving sunlight.
Absence of ornaments. It is shown as a primarily austere, practical and functional home, surrounded by fields and fully adapted to the needs of the time in which it was built. Subsequently, decorative elements would arrive such as arches and balustrades of carved wooden forms, but these were relatively discrete and concentrated on the main facade.
Prominence of the facades. The treatment of the facades reveals a clear hierarchy between the main facade, bleached, and the other facades, simply plastered or exposed stone walls. Similarly, the few decorative elements that can be found in the original finca are concentrated on the main facade.
The walls are wide, almost one meter, and consist of dry stone and mortar. Most walls are whitewashed in both homes and churches, although sometimes presented showing bare stone. The walls that enclose the building may have a form of steep walls (inclination and thicker at the bottom part) to strengthen the structure and the defensive function.
The windows are small and formerly had no glass, narrower on the outside than on the inside, thus emulating a fortress. Continuous attacks and plunders of vandals and pirates over centuries forced the homes to have this double function. Another purpose of the small windows was to protect the inside from the sun in summer, contributing to housing
The roofs are flat and originally made up of three layers: juniper wood, ash and marine plants and a layer of clay, which acted as insulation and impermeable. On rooftops different fruits of the field were sunned and serve to collect rainwater that is channeled through a cistern.
The Ibizan finca is an consecution of adjoined and stacked cubic modules, shown as a construction of simple lines, flatness, enclosure, proportionality and human measures. Traditional Ibizan architecture finds its expression in the family house that is found in the rural environment of the island and, developing a specific typology, adapts both the terrain and the needs of its inhabitants.
The original distribution of these houses is a door that leads the main room (the porxo), public space of the house, the place of important meetings and transition between the outside and the private areas. The porxo is the acess to all the other rooms, generally the kitchen and two areas that originally served as both bedroom and storage. The kitchen, equal to or larger than the porxo, in ancient times also served to shield from the cold, around a bonfire on the floor, and as an occasional bedroom during winters. The front of the house was closed by a low wall, which inside multitude of herbs and a small orchard were kept protected from livestock. Separated from the main house were the pens that housed the animals. Surrounding to these were the fields, arranged in terraces of stone wall when they had to take advantage of the abundant slopes that the island has. Around some fincas there were also other architectural elements, such as a cart garage, oil mills, stables, lime kilns, the threshing floor or a coal deposit.
In the original interiors of the Ibizan finca, of which today only memories and some photographs remain, is the same strict functionality and austerity as marked by the outside of the building. Most of the rooms do not have a defined function, such as the large porxo or the kitchen, that have multiple uses. The scarce furniture and the absence of decorative elements in every room of the house expresses a singular simplicity, a purely utilitarian sense that makes the architectural elements acquire a greater role. The main source of incoming light is in the porxo, but it doesn’t usually have more openings than the entrance door and, because of the small windows, this main room shows the same kind of gloom as found in temples.
Especially the interiors, but also most of the outside of the Ibizan finca show a clear relationship with the Arab houses in rural areas, unlike the houses of Mallorca and Menorca, which rather resemble Catalan or Castilian country houses. Homes in Tunisia and Algeria are very similar to the Ibizan finca, as both show the same economy of means, adaptation to the environment, horizontality and composition of modules. In fact, his construction method is also found from the Himalayas through Yemen and the Middle East, to the south of the Atlas, and fits into a long tradition dating back to the Neolithic era. Several studies suggest that it develops in Phoenicia and Babylon, and later extends to the southern coast of the Mediterranean basin.
Since ancient times, the people of Ibiza break with the two types of typical settlements of any other Mediterranean enclave: communities that prioritized defensive conditions by focusing on peninsulas or hills, and those that prevailed trade positioning its populations near the sea. Instead, cottages in Ibiza had a settlement scattered throughout the territory of the island and its distribution depended on the agricultural qualities (arable, fertile soil), being the distances between them irrelevant. This circumstances turned them into a kind of islands in the island.
The consequence of this unusual isolation was that these houses had to be self-sufficient from the outset and, at the same time, include elements that offered defense and shelter, such as thick walls or the praedial towers. Even the churches, which were conceived as fortresses and shelters inviting houses to group around it, failed to materialize real villages until recent times and this occured only partially, as evidenced by the dispersion of rural households that until nowadays are rarely grouped together.
The dispersion of the habitat in Ibiza has been a constant since the Punic (Phoenician-Carthaginian) colonization. Throughout most of its history, the most profitable was to place the houses on the land they cultivated because arable soils were excessively separated. Even the Catalan conquest (1235) did not mean any change of habitat or cultivation method as they had for centuries with the Arab occupation.
Factors such as the isolation of the peasant houses, the low yields of their farms or the frequent pirate attacks led them not to rely on products and manufactured goods other than the basic, found nearby, pushing them to a near autarky situation. Therefore, homes and tools were made with the materials at hand, which explains the absence of building materials such as bricks or tiles. This dependency of the environment and the autarky of the peasant production unit are circumstances that explain the archaism of the Ibizan architecture.
From these unfavorable circumstances and the farmers’ economic situation, close to subsistence for most of its history, adaptations took place in these constructions that surprise nowadays, considering it a model of sustainable and bioclimatic architecture. In this way, a climate of hot summers, little rain and wet winters and a mountainous landscape of scarce available land for cultivation, bring up the following adaptations to the buildings:
1. Environmental use and sustainability
Using the terrain rocks as natural foundation, the estate is built using materials found on the spot, without manufacturing processes rather than the mixture of mortar or lime kilns. In addition, the finca is ideally located on the slope of a hill, leaving behind the mountain, on a high surface with a slight inclination; which serves to prevent humidity and torrential rain, while being protected from the northern winds. The flat roofs are also used to collect rainwater that is channeled through a cistern for later consumption.
2. Bioclimatic
The thick walls and small windows insulate the outside temperature to keep the interior cool during the summer and warm in the winter, adapting the house to the climate of each cycle. The absence of glazing in the original fincas ensured the necessary ventilation for a perspiration of walls and roofs. The south-facing facades capture most of the sunlight in winter and more shade in the summer, while avoiding the winter winds from the north and allowing the entry of fresh winds in summer. Even the white of the walls had a role, by reflecting sunlight and prevent overheating of the building in summer.
As could not be otherwise, the most interested in studying the Ibizan rural house were the avant-garde architects. In the 1930s it was a time of searching for new answers outside of classicism, towards new forms: rationalism, the Bauhaus and its heirs, Broner, Le Corbusier, the Group of Catalan Architects and Technicians for the Progress of Contemporary Architecture (GATCPAC), among others, found in Ibiza an architecture strongly shaped by climate, materials available and practically devoid of the influences of artistic or architectural styles from any given time, and the result of a direct contact between human being and the environment in which it developed its activity. In fact, the cubic simplicity of this ancient house was somehow a confirmation for those avant-gardist that the idea by them promoted was somehow on the right track, as it came countersigned by centuries of anonymous tradition developed on a small island, cradle of cultures.
The architects of the 30s described and embraced many elements of the traditional house, but did not have much interest in expanding their study into deeper topics like the historical origins of this architecture. A more extensive investigation would not appear until two or three decades later, and in particular two names are worth mentioning, that practically devoted their lives to studying this archaic architecture: the Canadian Rolph Blakstad, which is responsible for the first historical-typological study of the Ibizan houses, developing an important thesis about its origins, and later founded a new architectural style, modern but heavily influenced by the original finca; and the Belgian architect Philippe Rotthier, that apart from his extensive research on these buildings, carried out numerous rehabilitations of fincas and designed new buildings, rigorously faithful to the original old farms.
(CC) Ibiza_Balàfia 004, by Nicolas G. Mertens. Creative Commons License: CC BY-SA 4.0 (Changes made. Link to original)
Comparative studies such as Blakstads and Rotthiers, published in books and articles, saw the ancient Phoenicians territories and their areas of influence in the Middle East, Mesopotamia and Egypt, the cultures that imported the construction method to Ibiza, dating its origin in the Neolithic. They also considered the Ibizan finca as the most faithful legacy of the ancient Punic houses and palaces that exists in the present day.
Through a comparison of plans and drawings of these publications shows the surprising number of constructive coincidences between the ancient architectures of Phoenicia, Mesopotamia and Egypt and the simple rural house of Ibiza. This theory is the most convincing to the majority, but it also encounters detractors within the research community. In fact, this is a topic that deserves an article by itself.
Today the new fincas are built using other materials and have considerable differences in form and composition with regard to the original fincas. To adapt them to modern requirements, the new built fincas are differentiated by an expansion of virtually all spaces and rooms, creating an increase of incoming light and higher ceilings, some rooms merge into others and there is usualy a higher frequency of decorative elements, such as sloping walls, pergolas or pavilions, among others. These are the most common additions arising from new trends and possibilities offered by technological advances; however, in its essence, these houses bear a strong resemblance to the old fincas, as the basic geometry of its forms, the predominant white or the thick walls. The fundamental similarities that the Ibizan finca shares with minimalism also explain the tendency to combine these two styles.
The scarcity of forms and decorative elements shown by the ancient fincas is a phenomenon that was conditioned by the precariousness and the necessary practicality, revealing that these homes were not meant to be seen, but to be lived. Its interesting how it is precisely this aspect that makes this style so popular nowadays, but mainly by the visual property of the design and less for the practicality for which it was conceived, although in many cases it remains practical.
However, until very recently the Ibizan rural house seemed to be detached from the process of transformation of history and was considered an archetype of popular architecture. Possibly it constitutes the last example of an age-old wisdom and an archaic form of life. Traditional Ibizan constructions were built without plans or specialization, but integrated into the same peer culture, it preserves the memory, the technique and the identity of a community.
Sources:
Rotthier, P. and Gobert, P. (2003). Treinta años en Ibiza, 1973-2003. [Sant Josep]: TEHP.
White, C. and Blakstad, S. (2012). Ibiza blakstad houses. Barcelona, Spain: Loft.
Naya, C. (2016). Innistre. 1st ed. [ebook] Barcelona, pp.4-15. [consultado 12 mayo 2016]
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Kelosa Blog editors are not responsible for the opinions or comments made by others, these being the sole responsibility of their authors. Although your comment immediately appears in Kelosa Blog we reserve the right to delete (in case of using swear words, insults or disrespect of any kind) and editing (to make it more readable) or undermines the integrity of the site
The luxury gated community Calaconta is the first residential development of its kind in Ibiza. This complex of private villas offers a number of amenities, a sophisticated security system and respects the environment. Furthermore, it is located very close to the famous beaches of Cala Conta (Cales de Comte, in ibicencan), one of the most desirable and less developed areas of Ibiza.
The residential complex is located on the northwest coast of Ibiza, 500 meters from the beaches of Cala Conta, one of the most impressive stretches of Mediterranean coast. The complex consists of houses oriented to the famous Ibizan sunsets, with the islands of S’illa del Bosc and Conejera framing the picturesque scenery. Calaconta urbanization is situated 20 minutes from the airport and 30 minutes from Ibiza Town. In the nearby area there are many points of interests for visitors. The northwest coast of Ibiza has some of the best beaches, restaurants, beach clubs and hotels on the island. The nightlife of San Antonio is a 10 minutes drive and Platja d’en Bossa is 20 minutes away.
The villas in Cala Conta were designed by architect MAGED Barmawi and present a modern architecture of Ibizan inspiration equipped with advanced technology. These buildings aim to reveal a modern architecture that breaks the traditional boundaries of the houses and to focus attention on the nature around them. This focus is achieved through the use of noble materials such as marble, wood and iron that evoke the dominant colors of the island; on the other hand, natural stones are quarried from the sorrounding land so that walls and terrain are intentionally confused in a single indoor-outdoor space.
These buildings present a successful fusion between a fundamentally minimalist design, but inspired by the traditional architecture of Ibiza, which stands as a whole by straight lines and a mixture of cubic volumes. The result is pure and simple shapes, but thanks to more organic elements like natural stone walls, dehumanization and coldness, that sometimes stigmatizes minimalist architecture, is in part avoided.
Each villa is west facing and has a private pool and large terraces, gardens, secure parking and panoramic views of the sunsets of Cala Conta. Architecture has been used to create natural air currents to reduce the need for air conditioning. Each house recycles all their water and has its own geothermal system for cooling, heating and generating hot water, with a minimum consumption of conventional energy sources.
The buyer is also offered with the possibility of designing the interiors of the home from scratch, together with Calaconta’s department of architecture, always respecting the esterior architectural style of the complex and thus maintaining a modern version of the architectural essence of Ibiza.
Calaconta is the first development of the island with green credentials, such as been qualified eco-friendly. As mentioned above, the villas are supplied with geothermal energy for heating and cooling, efficient rain water recovery system for garden irrigation and greywater recycling through a treatment process. The promoter José Peman says that, during the construction of the complex, recycling of aggregates was performed; rocks and earth have been removed from the sorroundings, thus reducing fuel costs deriving from transport.
Calaconta villas have 24-hour security every day of the year. The gated community has private paved roads, accessible only through a checkpoint with personalized access. Besides being a gated complex, it has an active and passive perimeter security system, thermal, volumetric and contact controls, all centralized in the checkpoint office of the urbanization. Thanks to these stringent security measures, Calaconta is also presented as a lucrative investment opportunity for vacational rentals.
SERVICES:
Calaconta aims to be the finest of all residential complex in Ibiza. The gated community offers a personalized 24-hour concierge service and has a Spa center with water treatments, massages, cardio zone and gym, among others. Community gardens are the result of a sustainable landscape design that has been raised with simplicity and functionality: grass, arid zone plants and aromatic succulents plants that are kept throughout the year. The administration offers the owner of each house the possibility of hiring lawn care and pool.
Completion of the residential complex Calaconta is planned in the summer of 2017. So far 29 of the 32 villas have been sold, so it may be finished earlier. Currently, in Kelosa we have three properties for sale in Calaconta urbanization. For more information, click here: Luxury houses for sale in Cala Conta
Its possible that the pictures and the content reaches us through different channels and is sometimes difficult to know the author or the original source of the content. Whenever possible we added the author. If you are the author of any content (image, video, photography, text, etc.) and do not appear properly credited, please contact us and we will name you as an author. If you show up in a picture and think it impugns the honor or privacy of someone we can tell us and it will be withdrawn.
Kelosa Blog editors are not responsible for the opinions or comments made by others, these being the sole responsibility of their authors. Although your comment immediately appears in Kelosa Blog we reserve the right to delete (in case of using swear words, insults or disrespect of any kind) and editing (to make it more readable) or undermines the integrity of the site.
When we talk about of Spanish architecture, we often think of gilded stuccos, intricate arches, colorful tiles or open courtyards with ornamental balustrades. However, Ibiza is a world unto itself. The hallmark of the new Ibizan style is elegant, white and minimalist. And, as we will see next, these aspects aren’t only the product of a new trend, but rather for centuries formed part of Ibiza’s rural architecture.
During the 30s intellectuals from various fields visited Ibiza, getting some of them to spend long periods on the island. Among them were architects belonging to the GATEPAC group, like Josep Lluís Sert and German Rodriguez Arias, aswell as fellow German architect Erwin Broner. All of them were fascinated by traditional Ibizan architecture. Above all they found Ibiza’s traditional finca as an austere, practical and fully functional home, representing perfectly the basics of concept and identity of modern architecture. Although long before the minimalist discipline and the Bauhaus school, these architects were surprised at how the Ibizan finca mostly met the guidelines that marked this new trend. The ibizan rural house fascinated by its simplicity, the functionality of each element, its integration into the landscape, all built in a rational way that captivated these modern architects of the time.
[caption id="attachment_1236" align="alignleft" width="271"]Josep Lluís Sert (left)[/caption]
As architect Josep Lluís Sert explains, according to a transcript of his speeches in the symposium held at the Museum of Contemporary Art of Ibiza in 1973, when it comes to Ibiza’s traditional rural architecture:
“This simple, white, rational architecture had a dimension and a human scale. The houses were obeying human needs and not responding to architectural orders of other times and cultures. We saw that this special and popular architecture had some constants. We could not tell what century this or that house was build, as this became irrelevant, because hardly anything changed in this type of architecture over the centuries. It was a perpetuation of forms endorsed by use. “
And it is especially in the perpetuation of forms endorsed by use and in the obedience to human needs, where we find the main link between the Ibizan rural architecture and architectural minimalism. Also, its possible to see that the traditional Ibizan finca meets most of the properties that define minimalist architecture:
–Simplicity -Basic rectilinear geometry –Façade importance –Literal use of material –Austerity. Absence of ornaments –Structural and functional purism –Reduction and synthesis -Consolidation -Abstraction -Economy of means
And, if the remaining three characteristics (Dematerialization, Order, Industrial production and standardization) are not being met or only partially, it is more due to technological advances and resources not available at that time, than due to a logical or natural development by this architectural discipline to comply with them.
The modern concept of the Ibizan fincas build by the architects of Blakstad Design Consultants, founded by Rolph Blakstad, could in fact represent what could be the natural evolution of the Ibizan rural architecture into a modern version of itself. To adapt to modern trends and requirements, these homes have been appropriated with minimalist elements to solve some of the major problems of the old fincas, but with a strong influence of traditional Ibizan finca design. The availability of modern materials, techniques and machinery allows, among others, to raise ceilings, structures that increase exterior light, roomy and diaphanous interior spaces and to expand sizes of rooms and entrances.
Modern villas in Ibiza usually have diaphanous floors and large windows, maximizing the views of the islands mediterranean landscapes. Among the Ibizan modern houses purely minimalist styles can be found, but also influences of other architectural disciplines such as Blakstad style or designs that combine both modern and traditional disciplines, with one or another more prominent.
A good example of a recent trend is the country estate Can Basso, as the result of a respectful renovation of an old finca over 300 years old. The architect did not remove any element of the original structure of the country house, but has changed some interiors, to be suited for latest trend designs in space and furniture, and added a few minimalist design elements like pool, windows, walls and garden. The result is an elegant combination of both disciplines, with a clear greater role of the original Ibizan finca style.
Another example is Can Durban, designed by Belgian architect Bruno Erpicum. Erpicum projects are known for a purist minimalism: large, white, bright villas and in search of infinite lines. In this case his work shows us a reinterpretation of the traditional house of Ibiza, with a strong role of minimalism. The result is, for example, frameless windows to benefit from wide views of the landscape, or prolonged and roomy interior spaces, providing what once was a traditional finca with a fundamentally minimalist architecture.
Minimalist architecture, at its core, reduces the structure to its basic elements, simplifying the design of spaces and providing serenity and tranquility, which are, in a sense synonymous with Ibizan style. The minimalist elements typically include pure materials from basic manufacturing, that harmonize effortlessly with natural light, form and space. With its roots in Japanese traditions and the Zen philosophy, minimalism is based on the transmission of calm through the essence, using the aesthetic principles of open spaces and the absence of unnecessary clutter that can be caused by architectural ornaments or decorative elements.
At its best, the concept is realized when, on entering the house, from the first instant views are there from the livinghall, across the pool deck and beyond to the landscape. In the same way, when we get the impression that the the room extends to the outdoor terrace, because architectural elements merge the two spaces, that is minimalism in its best form. One can say that minimalist architectural represents these sensations as an integral element and perfectly embodies the serene and relaxed feeling that Ibiza stands for.
We have seen that there is an undeniable connection between the two architectures. Therefore, it makes all the sense in the world here to invest in simple and austere standards, as it is found in the roots of Ibizan architecture.
SERT, Josep Lluís (1973) «intervenciones de Josep Lluis Sert en la charla coloquio celebrada en el Museo de Arte Contemporáneo de Ibiza». Disponible en: Grup d’Opinió d’Arquitectes.
It is possible that the pictures and the content reaches us through different channels and is sometimes difficult to know the author or the original source of the content. Whenever possible we added the author. If you are the author of any content (image, video, photography, text, etc.) and do not appear properly credited, please contact us and we will name you as an author. If you show up in a picture and think it impugns the honor or privacy of someone we can tell us and it will be withdrawn.
Kelosa Blog editors are not responsible for the opinions or comments made by others, these being the sole responsibility of their authors. Although your comment immediately appears in Kelosa Blog we reserve the right to delete (in case of using swear words, insults or disrespect of any kind) and editing (to make it more readable) or undermines the integrity of the site.
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